Lee Alexander McQueen and Shahpour Pouyan at the Frist Art Museum
From May 24 to August 25, 2024, the Frist Art Museum presents the exhibitions “Lee Alexander McQueen & Ann Ray: Rendez-Vous” and “Shahpour Pouyan: Winter in Paradise”
Source: Frist Art Museum · Image:Frist Center for the Visual Arts. Image by Kathleen Conklin from Falls Church, USA. LicenseCreative Commons Attribution 2.0 Generic. Retrieved from https://commons.wikimedia.org/wiki/File:Frist_Center_for_the_Visual_Arts.jpg
Lee Alexander McQueen & Ann Ray: Rendez-Vous
Lee Alexander McQueen (1969–2010) redefined contemporary fashion with his extraordinary ability to blend exquisite craftsmanship with intimate and imaginative storytelling. Mythologized in his own lifetime, he was characterized as a troubled genius and one of the twentieth century’s most visionary designers. Lee Alexander McQueen & Ann Ray: Rendez-Vous offers a rare glimpse into the life and mind of McQueen and introduces one of the twentieth century’s great, but lesser-known, fashion photographers, Ann Ray (b. 1969). With exclusive, unfettered access to McQueen’s world, Ray captured everything from contemplative moments in the design studio to the organized chaos backstage at runway shows. In total, she shot forty-three collections over the course of thirteen years, creating a massive body of work and an indelible record of McQueen’s process.
The exhibition features 65 photographs hand-selected by Ray from her archive of over 32,000 negatives, more than 50 dress objects spanning the entirety of McQueen’s career, 10 gifted garments from Ray’s wardrobe, and various pieces of fashion ephemera, all of which are sourced from one of the world’s largest private collections of McQueen’s works. Both thorough and emotional, the exhibition offers the unique opportunity to reevaluate the life and legacy of a beloved but widely misunderstood figure, and to disentangle the person from the persona.
Shahpour Pouyan: Winter in Paradise
In works of art astonishing for their beauty, sophistication, and virtuosity, Shahpour Pouyan (b. 1979) expresses a poetic melancholy about the human condition. Winter in Paradise will be this internationally renowned Iranian artist’s largest solo museum exhibition to date. Three major projects from the past decade will show Pouyan’s extraordinary mastery of a range of traditional and new media and his engagement with history and contemporary events.
Conceived as a triptych in three galleries, the exhibition explores the architecture of power, its fragmentation and destruction, and feelings of nostalgia for a lost presence. Works on view will include examples of the drawings and ceramic sculptures of architecture for which Pouyan is well known, plus his first virtual reality installation, which is making its debut at the Frist. Accompanied by a haunting musical score set in a chilled room, the VR installation is an immersive multisensory experience that allows guests to explore the interior of an uncharacteristically gloomy Persian mosque in which snow mysteriously falls.
Rolex Submariner, reference 1680, circa 1975, sold for £9,600
On May 22, Bonhams hosted an exceptional auction at London Knightsbridge, featuring an impressive array of timepieces that drew significant attention from collectors and enthusiasts worldwide. The event, which showcased 174 lots, highlighted over 20 coveted Rolex models, ranging from Explorers and GMTs to Day Dates, Daytonas, and Submariners, with production dates spanning from 1957 to 2019.
The sale also included exquisite designs from prestigious brands such as Cartier, Patek Philippe, Breguet, Jaeger LeCoultre, Audemars Piguet, and a standout Piaget Polo from the 1980s.
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The auction was a resounding success, generating a total of £713,344. An impressive 91% of the lots were sold, with 97% sold by value, reflecting the strong demand and competitive bidding.
Charles Dower, Bonhams Watches Specialist, expressed his delight with the results, stating, “The Bonhams Watches and Wristwatches sale included fine examples of desirable timepieces from the most illustrious designers with extraordinary craftsmanship, presenting designs that are both wearable and highly sought-after in today’s market. Competition was fierce on the top lots with bidding by international buyers, achieving figures above the pre-sale estimates.”
Rolex Cosmograph Daytona, reference 116500LN, circa 2019, sold for £20,480
The star of the auction was a Rolex Cosmograph Daytona, stainless-steel automatic chronograph bracelet watch, reference 116500LN, circa 2019. Known as the LN reference ‘lunette noir’ due to its black Cerachrom bezel and white dial, this sought-after piece surpassed its pre-sale estimate, fetching £20,480.
Rolex Cosmograph Daytona, reference 116520, circa 2002, sold for £15,360
Another notable Rolex timepiece, the Rolex Cosmograph Daytona, reference 116520, circa 2002, achieved £15,360. Additionally, a Rolex Explorer, reference 1016, circa 1957, featuring a stainless-steel automatic calendar bracelet, black dial, and luminous baton hours, sold for £10,880, exceeding expectations. The Rolex Submariner, reference 1680, circa 1975, a stainless-steel automatic calendar bracelet watch, garnered £9,600, also surpassing its pre-sale estimate.
Rolex Explorer, reference 1016, circa 1957, sold for £10,880
Beyond Rolex, the auction featured several other remarkable timepieces that captivated bidders. A Breguet Marine 18K rose gold automatic calendar flyback chronograph wristwatch, circa 2011, with its Guilloché engraved grey dial, applied rose gilt Roman numeral hour markers, and coin-edged band, sold for £12,160, well above its estimate.
Furthermore, a Patek Philippe Twenty-4, 18K gold diamond set quartz bracelet watch, circa 2010, inspired by the Gondolo line and adorned with diamonds on the dial and bezel, also achieved £12,160, exceeding its pre-sale estimate.
Breguet Marine 18K rose gold automatic calendar flyback chronograph wristwatch, sold for £12,160
The successful sale of these high-end watches at Bonhams underscores the enduring appeal and robust market for luxury timepieces. Collectors and enthusiasts continue to seek out these exquisite pieces, recognizing their craftsmanship, heritage, and potential as valuable investments.
Overall, the auction at Bonhams Knightsbridge not only met but exceeded expectations, reinforcing the auction house’s reputation for offering some of the finest and most desirable watches in the market today.
Patek Philippe Twenty-4, 18K gold diamond set quartz bracelet watch, circa 2010, sold for £12,160
Founded in 1793, Bonhams has representatives in over 30 countries and operates flagship salerooms in London, New York, Paris, Los Angeles, and Hong Kong. It is a global network of auction houses boasting the largest number of international salerooms and offering the broadest range of collecting categories, catering to all price points. Recognized for its bespoke service and dedication to fostering local market relationships, Bonhams enhances its global platform. With 14 salerooms, Bonhams hosts over 1,000 sales annually, spanning more than 60 specialist categories such as fine art, collectibles, luxury items, wine & spirits, and collector cars.
The first part of the illustrious collection of 18th-century Meissen porcelain sculptures, previously owned by the late German businessman and passionate collector Hadrian Merkle, was auctioned yesterday, April 17, 2024, at Bonhams in Paris. This 55-lot sale fetched an impressive €948,450, significantly surpassing its pre-sale high estimate of €594,800, highlighting the enduring allure and value of Meissen porcelain.
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Sebastian Kuhn, Head of Continental Ceramics at Bonhams, expressed his satisfaction with the auction’s outcome. “We are delighted with the results of the sale. This exciting collection included some of the rarest and finest examples of late-Baroque small-scale sculpture and offered a tantalizing and unique glimpse of the world seen through 18th-century eyes,” Kuhn remarked.
The fierce bidding, which took place both in the auction room and via telephone and online, saw many items selling well above their estimates.
The highlight of the auction was an extraordinarily rare Meissen group of lovers with a birdcage, which sold for €171,850, more than quadrupling its low estimate. This piece, first documented in the work records of J.J. Kaendler in March 1741, captivated bidders with its historical significance and intricate craftsmanship.
Another standout item was a rare Meissen crinoline figure of a lady from around 1737, which fetched €127,400, exceeding its low estimate by over six times. This statuette, also modeled by Kaendler and once part of Mrs. Charles E. Dunlap’s collection, is considered one of Kaendler’s most exquisite early sculptures, first appearing in his work records in December 1736.
In the 18th century, porcelain figures and groups were essential elements of table culture at European courts. The discovery of hard-paste porcelain at Meissen around 1710 revolutionized table settings, replacing sugar sculptures with more durable and artistically versatile porcelain that could be painted and gilded. These elaborate table sculptures not only symbolized the beauty and grandeur of the courts but also served as sophisticated conversation starters and diversions from the formal court etiquette.
The genius behind many of these creations, Johann Joachim Kaendler, became a modeller at the Meissen factory in 1731. Kaendler, a student of the Dresden court sculptor Benjamin Thomae, harnessed the potential of the new material, producing a remarkable body of work.
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Over four decades, he created a diverse array of figures depicting court members, Commedia dell’Arte actors, musicians, tradesmen, allegorical figures, street criers, and representatives from various nationalities, as well as pastoral figures, villagers, and beggars. Kaendler’s creations are celebrated as masterpieces of late-Baroque and Rococo sculpture.
Other notable sales from the auction included a rare Meissen group of Pantalone and Columbine from around 1738, which sold for €82,950, against an estimate of €40,000-60,000. Additionally, a rare Meissen masonic crinoline group of lovers, circa 1745, garnered €75,330, surpassing its pre-sale estimate of €40,000-60,000. This piece, also modeled by Kaendler, was previously owned by the renowned Swiss collector Paul Schnyder von Wartensee.
Furthermore, a large Meissen vase from around 1730, painted in the Kakiemon style, sold for €61,360, exceeding its estimate of €20,000-30,000. This vase was part of the collection of Heinrich Graf von Brühl, the influential Prime Minister of Saxony and Director of the Meissen manufactory.
Hadrian Maria Oskar Merkle (1942-2018), born in Nuremberg, was a successful businessman in the transport industry and a distinguished collector. Art and culture provided a refuge from his professional life, and he was actively involved in numerous museum associations, including the Gesellschaft der Keramikfreunde (Keramos), a prestigious society devoted to ceramics.
Merkle’s passion for porcelain was matched by his love for opera and fine dining, making him a regular attendee of the Mozartfestspiele in Würzburg and Salzburg. His children recall their home filled with art, a testament to Merkle’s keen eye for exceptional pieces and his profound appreciation for Meissen porcelain.
Following the success of this initial auction, the next segment of The Merkle Collection will be auctioned on October 31, 2024, at Bonhams Cornette de Saint Cyr in Paris, focusing on the Commedia dell’Arte. Further auctions featuring works from the Merkle Collection are scheduled for Spring 2025, promising more opportunities for collectors to acquire pieces from this remarkable collection.
Kate Casprowiak Scher, the Bellevue Arts Museum’s new permanent director, explains that candour about the institution’s finances helped bring the kunsthalle in suburban Seattle back from the brink
In April 2024, the art collective “Black Void“ participated in the Hong Kong Web 3 Festival and the Hu Shi Guang Art Eco Site. Their project “Twin Cloud“ at the Hong Kong Web 3 Festival integrates innovation in blockchain technology and climate-conscious generative art, making crypto art an entry point for green practice.
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The other project, “Biosphere 3,” uses a digital life generative system and 3D printing technology to present an interstellar species, leaving a series of sculptures at the Hu Shi Guang Art Eco Site. As a fusion of art and science, Black Void’s works exemplify how digital technologies can address current ecological issues, both within digital realms and real-world settings.
The digital world is giving rise to new life forms, such as Bitcoin, artificial intelligence, and any living organisms combined with machines or automatic systems. They all thrive, breathe, and draw energy in this decentralized network, where even ‘I’ am expanded into various nodes of the network.
Meanwhile, the concept of energy undergoes a transition from fossil fuels to data and computational power in the digital age. Similarly, the ecology shifts from a system supported solely by sunlight, water, oxygen, and soil to a hybrid ecosystem intricately interwoven with natural elements, informational layers, algorithms, and infrastructure.
Black Void’s artistic endeavors center around this hybrid ecology, where living organisms, AI, data, digital avatars, and currency serve as distinct nodes in a decentralized network. Themes explored include “cloud,” “carbon,” “blockchain,” and “interstellar life,” all manifesting as transmaterial entities existing across physical and digital realms.
Speaking about their vision, Black Void’s founder Yixuan Cai stated, “Our aspiration is to contribute to the emergence of a transformative ecological paradigm, unfolding within a hybrid realm where life, energy, and ecology undergo revolutionary redefinitions—spanning from pixel to planet, from Earth’s atmosphere to the Martian landscape.”
Twin Cloud is a climate data-driven generative art collection and a Web3 art IP focused on sustainability that links crypto art to green practices. Chemicals produced by mountain fires, car exhaust, and industrial production travel far distances in the air, reflecting ground activities.
The project has gathered meteorological data worldwide from the Copernicus Ecological Satellite, creating the climate identity of 300 cities through its digital sculptures. The datasets include greenhouse gases, aerosol pollutants, humidity, temperature, location, etc., all of which affect the shape, movement, color, and texture of the digital cloud. With the accumulation of chemicals, a soft and sparse cloud may change into a chaotic and violent one.
At the Hong Kong Web 3 Festival, Black Void showcased two special pieces: “Twin Cloud Hong Kong” and “Twin Cloud Bitcoin” in response to the support from the Hong Kong Web3 ecosystem and the Bitcoin Greening Action.
“Twin Cloud Bitcoin“ is based on the Cambridge Blockchain Network Sustainability Index, depicting the carbon footprint fluctuations from the genesis block in 2009 to the present. Simultaneously, the artwork collaborates with GreenBTC.Club, incorporating contributions from clean energy to offset the carbon emissions of the Bitcoin network.
Everyone participating in the Twin Cloud event will also receive one on-chain green certificate, which equals 1000 kWh of green energy usage, offsetting 0.5 tons of carbon dioxide. Engagement with the artwork serves as an entry point for individuals to engage in green practices.
Biosphere 3 builds a new vocabulary for interstellar species as a new life form composed of matter and information, while also connecting its digital form to corresponding physical sculpture through blockchain technology. Inspired by the Astromycology laboratory under NASA, the project is derived from a simple scientific hypothesis: what if fungi were to immigrate to Mars before humans? How will they thrive and communicate as an interstellar species?
The work creates a system for generating Martian mushrooms. Martian climate factors—from deserts to plains, glaciers to volcanoes, perihelion to aphelion—affect the fungi morphology. As the forms of matter and energy are completely different from those on Earth, interstellar life may transmit signals through electromagnetic waves, take cosmic radiation as food, and reproduce by copying its code.
At Hu Shi Guang Art Eco Site, the project exhibits as a digital work with its corresponding 3D-printed sculpture. The changing light and shadow of the sculpture also present the day-night and seasonal changes of Mars. At the Hong Kong Web 3 Festival, the project connects its digital and physical assets through blockchain technology, making the piece an example of RWA art assets.
The team composition of Black Void also reflects its ambition to blend contemporary art with science. The collective comprises Yixuan Cai, Stella Miao, Yuhan Xiao, Hong Yun, and members from diverse backgrounds, including art, curation, architecture, algorithms, data science, and music. Some members hail from the Future Laboratory at Tsinghua University and the Rhode Island School of Design, establishing a strong foundation for collaboration between art and science.
The art collective also builds an extensive collaborative network. Their projects have drawn data from diverse sources, including the Copernicus Environmental Satellite, the European Center for Medium-Range Weather Forecasts, and the NASA Planetary Data System, among others.
Additionally, they have partnered with initiatives like the Greening Bitcoin Initiatives and decentralized photovoltaic power generation networks for on-chain green practices. They’ve also collaborated with sustainable brands such as L’Oreal, Genesis Motor, and Tencent SSV to increase public awareness of sustainability. The institute and enterprise collaboration allows Black Void to connect art to a larger network of action.
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Black Void
Black Void is an art and science collective directed by Yixuan Cai, in partnership with Stella Miao and Yuhan Xiao, as well as Hong Yun and other members from various fields, including architecture, digital art, data science, algorithms, and experimental music. Their artistic endeavors center around a hybrid ecology interwoven by nature and technology. Through new technologies such as AI, blockchain, and intelligent manufacturing, they explore themes including “cloud,” “carbon,” “blockchain,” and “interstellar life,” all manifesting as transmaterial entities existing across physical and digital realms.
Their representative works, “Twin Cloud” and “Biosphere 3,” have been exhibited at various venues such as the Venetian Arsenal, The Guardian Art Center, the Power Station of Art, and more. They won first place in PacificVis 2023 Visual Data Storytelling and have been featured in a documentary produced by China Media Group. Past brand collaborations include L’Oréal, Tencent SSV, Audi, Genesis Motor, and others.
