Joerg Koch/ 032c
💥⬇️ New 032c Winter issue “BERLIN KIDZ” out now!
We salute JUDY BLAME, rest in paradise. 🖤Jeweller, and stylist before “stylist” became a job title, Judy Blame was interviewed in #032c Issue #6: When Attitude Becomes Form, published in Winter 2003/4. The interview is ONLINE NOW AT WWW.032c.COM Born in 1960, he was at the center of the British underground since the days of safety pins and Malcolm McLaren stalking the streets. He collaborated with interlocutors spanning from Rei Kawakubo at Comme des Garçons to Kim Jones at Louis Vuitton. Jammed with keys, buttons, safety pins, and sepia photos, his work arrives to us as a message from Punk’s baroque period, entwining tropes of youth subculture and found objects into fashion shoots, collages, and accessories. 📷 Julia Hetta #judyblame #rip @markhooper
BERLIN MAD MAX 1992: British artist group Mutoid Waste Company created the sculpture TANKHENGE of painted tanks on the wasteland in front of the Reichstag. 📷 Sébastien Bretagne
If you miss 90s #NewYork, you have to visit TONY COX show at his apartement in Chinatown: „DIGGING FOR DIAMONDS IN THE DISCO is an intimate exhibition of collaborators, friends, and personal influences organized by artist Tony Cox in his Canal Street studio apartment. Taking its name from one of his early thread mantras, the title refers to the way that social life—particularly nightlife—can fuel creative practice as the collected individuals interact as teachers, guides, and catalysts. "When I went out, I was looking to connect,” Cox said. “I was in search of knowledge, of people who would help me grow." We all hold personal canons—the artists that lead us to discover a genre, a dialogue, or means of production—and carve personal paths to that knowledge. Operating outside of the academic art world, Cox built his own canon rhizomatically through exchange with artists, musicians, designers, and writers. Eschewing irony or veiled reference, Digging for Diamonds in the Disco is an earnest exploration of one practicing artist, his network, and this canon. The result is an exhibition of personal (art) history that maps the play of ideas and inspiration in an artist’s head onto the walls of his home.“ 💎 w/ RITA ACKERMANN, BENJAMIN CHO, MARK GONZALES, DAVID ARMSTRONG, ROBERT LONGO, RENÉ RICARD, BJARNE MELGAARD, and many more.
It is raining in New York. I promise 032c WEATHER REPORTS will always remain free of charge...
Count Balthasar Klossowski de Rola, the painter better known as #BALTHUS, purchased The Grand Chalet of Rossinière in 1977. The residence, one of the oldest chalets in Switzerland and the largest wooden structure in the country, was a suitable abode for the self-styled count. Its rooms with 113 windows became the location for many of Balthus’s most iconic works in his later years, a setting for wistful dreamers perpetually suspended in a place outside of time. Balthus himself had a complicated relationship with contemporaneity. As a child in Paris, he was raised in the milieu of high Modernism, with family friends such as Rainer Maria Rilke, who gave Balthus his pseudonym. And yet, in an interview with David Bowie late into his eighties, Balthus distanced himself from both contemporary and modern art. Rather, his relationship to painting – and reality itself – took on a much more transcendental form. In that same interview, Balthus describes himself as an avid reader of The Confessions of Saint Augustine. The early Christian text calls across an immense void to describe God, a mystical endeavour evident in both Balthus’s landscapes and his famous interiors of subjects held in various states of contemplation and rapture. In a recent edition of Confessions by Sarah Ruden, the translator replaces the normal description of God as “Lord” with “Master.” To be under the grip of something outside this world – this is the feeling one gets from Balthus’s painting and from being inside his former home. KATERINA JEBB and ROBERT RABENSTEINER traveled for the current winter issue of #032c to Rossinière to visit Balthus’s widow Countess Setsuko Klossowska de Rola and his daugther Harumi Klossowska de Rola at The Grand Chalet. 📕