#colette weekly : New T-Shirts !

	New T-Shirts!
	Notre sélection de T-Shirts imprimés

 

Ouvert du lundi au samedi de 11h à 19h. 24h/24h online.

The Horsebit Wedge by #Gucci

The slide rule inspired watch by klokers: KLOK-01

KLOK-01 by klokers

Machines to Travel through Time

 

Come back with us through time, anytime from the 1970s all the way back to the 17th century, when slide rules really did rule. Before the advent of cheap pocket calculators, slide rules were the fastest method for working out complex calculations.

klokers pays homage to this iconic, form-follows-function instrument with the brand's first watch, the KLOK-01, featuring three rotating disks displaying time along a vertical line and a patented interchangeable bracelet system.

klokers watches are highly evocative, triggering memories and personal stories from iconic objects of our past. They are like time shuttles for the wrist, reviving timeless style elements and channeling them into fresh, contemporary, playful timepieces respecting the origins of their inspiration. The KLOK-01 display is a graphical representation of a slide rule using three rotating concentric rings to display the time along a vertical red line. The rings - one each for hours, minutes, and seconds - rotate at different speeds, making the whole dial a symphony of motion. An integrated magnifying lens in the crystal ensures high legibility when reading the time. The 44 mm case is fabricated from a modern composite of stainless steel and polymers for maximum strength and comfort.

klokers watches easily, and securely, clip on and off a patented docking "Key" on the bracelet, allowing for interchangeability of watches and bracelets to suit the owner's mood and fashion. The bracelet (KLOK-00) is also designed to be worn by itself. KLOK-01 is more than a watch: both the timepiece and bracelet are stylish, stand-alone fashion accessories.

KLOK-01 is priced at $389 and will be officially launched by a Kickstarter campaign in September 2015 in a numbered edition launch model of 200 pieces each in yellow, grey, and indigo. You can stay up to date with our Kickstarter campaign and qualify for the $199, 40% discounted, numbered edition launch model by registering at www.klokers.com.

Our very best regards from all the team at klokers

Street, Sound and Style | Bella Hadid's Guide to LA | The Unrealistic Mannequin Debate

street, sound and style: supreme kids and online style Our new Ewen Spencer-directed series, in collaboration with Channel 4, looks at the history of British music scenes and the styles they created. In the final episode, we look the birth of the Internet and its effect on youth culture. the kids reign supreme

the topshop mannequin debate  As Topshop order in less “ridiculous” mannequins, we question why only one person called bullshit? model society our fav teen dream high schools  From Grease to Mean Girls, take a Google Map tour of the schools that fuelled a thousand slow-mo corridor fantasies. back to school bella hadid's guide to l.a.  From maintaining paparazzi relations to the city's perfect selfie conditions, here's Bella's insider guide to L.A. hit the west coast i-D mix returns next week We're back at Shapes in Hackney for another road block event next Thursday. Come down and get grimey with us. rsvp here

HOMMAGE | Kiripi Katembo (1979-2015)

Kiripi Katembo (1979-2015)
L'artiste congolais Kiripi Katembo est décédé mercredi 06 août 2015 à Kinshasa (République Démocratique du Congo).
Entretien avec Kiripi Katembo
Quel chemin t’a mené jusqu’à la photographie ?
J’ai débuté à l’académie des Beaux-Arts (ABA) de Kinshasa en communication visuelle mais, durant cette période, ce qui m’intéressait le plus était de faire ma peinture. Je travaillais aussi sur des objets de récupération pour faire de la sculpture. Puis un partenariat entre l’ABA et l’École supérieure des arts décoratifs de Strasbourg a été mis en place en 2003. Quelques années plus tard, dans ce cadre, j’ai commencé à participer à des ateliers, notamment celui de la réalisatrice et documentariste Marie-Dominique Dhelsing. C’est au cours de cet atelier que j’ai réalisé mon court-métrage Voiture en carton (2008). Parallèlement à cette vidéo, j’ai fait de la photographie, puis je me suis mis à associer les deux : photo et vidéo. Quand Voiture en carton a été sélectionné pour le festival Pocket Films au Centre Pompidou en 2008, cela m’a motivé et donné confiance.
En 2008-2009, tu as commencé à beaucoup photographier la ville de Kinshasa, et particulièrement ses flaques d’eau. Puis, un peu plus tard, tu as fait une série sur les toits de la ville. Il semble que ces deux séries ont été décisives pour ta carrière.
Oui. J’ai intitulé cette série sur les flaques d’eau Un regard (2008). J’ai commencé à l’envoyer à plusieurs personnes évoluant dans le milieu culturel. En 2011, j’ai reçu un email de la commissaire de la Biennale de Bamako, Laura Serani, me disant qu’elle serait bientôt à Kinshasa et qu’elle aimerait voir mon travail. Nous nous sommes rencontrés. Au départ, cette série ne correspondait pas exactement à ce qu’elle recherchait pour la nouvelle édition de la Biennale, alors je lui en ai montré une autre que j’avais faite en 2009 au Katanga en parallèle d’un court-métrage intitulé L’Après Mine. Le cinéaste Djo Tunda Wa Munga, auteur du film Viva Riva ! (2010), s’était intéressé à mon travail et m’avait invité cette année-là à venir suivre des formations en cinéma, documentaire et fiction. À l’issue de ces formations, j’avais été sélectionné pour faire des courts-métrages produits par Suka! Productions et d’autres compagnies sud-africaines. C’est dans ce contexte que j’ai fait le film L’Après Mine ainsi que la série photo du même nom. Quand j’ai montré cette dernière à Laura Serani, elle m’a dit que cela correspondait à ce qu’elle recherchait. Laura Serani m’a finalement demandé de lui envoyer les deux séries, qui ont été retenues, L’Après Mine dans la section « Pan-Africa », et Un regard dans la section « Monographies ».
Peu de temps après la Biennale de Bamako, j’ai pu approfondir mon travail grâce à la Fondation Blachère, qui m’a décerné en 2011 un prix pour la série Un regard : une bourse de participation à plusieurs expositions et une petite résidence dans leur concession à Apt. Ce prix m’a permis de me lancer rapidement dans ma deuxième série, Mutations, consacrée à des photographies prises depuis les toits ou le sommet de tours, qui très vite m’a ouvert d’autres résidences et festivals. En 2013, le KVS de Bruxelles, en collaboration avec le festival Theater Aan Zee, m’a invité en résidence à Ostende pendant deux mois pour réaliser un travail s’inscrivant dans la continuité de Mutations. J’y suis allé et j’ai exposé des photos que j’avais prises à Kinshasa, Brazzaville et Ostende. J’ai demandé aux organisateurs de dire que l’artiste venait du Congo sans préciser le lieu des prises de vues et ce qui a été drôle, c’est que les gens présents (de vieux Belges qui avaient vécu au Congo dans les années 1960) étaient persuadés que les photographies avaient été faites au Congo, puisque le photographe était, entre guillemets, africain. À la fin, on leur a dit qu’environ 30 % des photographies avaient en fait été prises à Ostende.
Ce qui est frappant dans ta série Un regard, qui est constituée de photographies de flaques d’eau dans lesquelles se reflète la ville de Kinshasa, exposées « à l’envers », c’est que lorsqu’on prend les photographies et qu’on les retourne – donc qu’on les remet à l’endroit –, elles deviennent banales. Dans ton geste conceptuel consistant à les retourner, il y a quelque chose qui donne toute leur dimension à ces photographies. Qu’as-tu envie de raconter à travers ce geste ?
C’est comme une sorte de début d’histoire d’amour avec l’œuvre. Je voulais développer la photographie comme on développe une toile de peinture. Je voulais être sûr de ressentir quelque chose en voyant la photographie afin de décider si je devais continuer ou arrêter. C’est comme ça que j’ai commencé à développer la série Un regard. Chaque image que je prends n’est pas le fruit du hasard. J’essaie d’avoir un échange avec l’image pour entamer une histoire avec la photographie. C’est pour cela que j’ai renversé les images. Avec le temps, cela m’a aussi poussé à regarder de la même façon la vie kinoise et toutes les expérimentations dont elle est faite. La photo, pour moi, consiste en cela, surtout avec les séries Un regard et Mutations : m’asseoir, rester à regarder et me demander si avec cette photographie je fais une peinture.

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Character of a chief

Forcefulness in the character of a chief executive is an invaluable quality #RobertK.Patterson @netoangelrp #publicrelations #socialmedia

New Museum Announces Upcoming Exhibitions with Jim Shaw, Anri Sala, Barbara Rossi, Wynne Greenwood, Jack Ferver, and more

2015/2016 SCHEDULE OF EXHIBITIONS

Currently, the New Museum is presenting the first major New York surveys of work by Sarah Charlesworth (through September 20) and Albert Oehlen (through September 13) as well as a new Lobby Gallery installation by Leonor Antunes (through September 6) and an exhibition co-curated with Taipei Contemporary Art Center (through September 6). The Museum is pleased to announce our schedule of exhibitions, residencies, and initiatives for 2015/2016 below. Please note, additional shows for spring 2016 will be announced this fall.

“Jim Shaw: The End is Here”
October 7, 2015–January 10, 2016
Second, Third, and Fourth Floors
The New Museum will present the first American survey exhibition of the work of Jim Shaw (b. 1952). Over the past thirty years, Shaw has become one of the United States’ most influential and visionary artists, moving between painting, sculpture, and drawing, and building connections between his own psyche and America’s larger political, social, and spiritual histories. Shaw mines his imagery from the cultural refuse of the twentieth century, using comic books, record covers, conspiracy magazines, and obscure religious iconography to produce a portrait of the nation’s subconscious. Although a recognized icon of the Los Angeles art scene since the 1970s, Shaw has never had a museum survey in New York. “The End is Here” will present some of Shaw’s most iconic projects, including early airbrush drawings; large selections from his series “Dream Drawings” (1992–99), “Dream Objects” (1994–present), and the sprawling “My Mirage” (1985–91); and Labyrinth: I Dreamt I was Taller than Jonathan Borofsky (2009), a large-scale, immersive installation of sculptures and painted theatrical backdrops. This survey will also include a presentation of his collection of thrift store paintings, originally shown in New York in 1991, as well as his ongoing collection of religious pedagogical materials that he has been amassing for decades. These two collections demonstrate Shaw’s unique insight into the spiritual and aesthetic history of America and the ways in which the obscure, personal expressions he has collected have informed his own unique artworks. The exhibition is curated by Massimiliano Gioni, Artistic Director, and Gary Carrion-Murayari, Kraus Family Curator, with Margot Norton, Associate Curator. More

“Barbara Rossi: Poor Traits”
September 16, 2015–January 17, 2016
Lobby Gallery
This exhibition will mark Barbara Rossi’s (b. 1940) first museum exhibition in New York as well as the most significant presentation of her work since the early 1990s. “Poor Traits” will feature a selection of Rossi’s enigmatic and playful graphite and colored pencil drawings from the late 1960s and meticulously rendered reverse paintings on Plexiglas from the early 1970s. Rossi first exhibited her work in late-1960s Chicago, where she became associated with a number of young artists known as the Chicago Imagists who shared an interest in non-Western and popular imagery and the pursuit of vivid, figurative work often coupled with humorous gags or puns. Her delirious innovations, however, are idiosyncratic even among an eclectic set of peers. In her early drawings, Rossi turned inward to find a visual language independent of contemporary tendencies and art historical traditions. Mining her own unconscious in an open and spontaneous process, the artist’s semi-automatist approach yielded a surreal morphology in which sporadic figurative suggestions transform wandering lines into hallucinatory portraits. The exhibition is curated by Natalie Bell, Assistant Curator. More

Pia Camil 
January 13–April 17, 2016
Lobby Gallery
In January 2016, the New Museum will host the first solo museum presentation in New York of the work of artist Pia Camil (b. 1980). In her paintings, sculptures, performances, and installations, Camil draws inspiration from the inner-city landscape of her native Mexico City and from the history of modernism. Her projects expose the problems as well as the latent possibilities within urban ruin, exploring what she refers to as the “aesthetization of failure.” For her “Espectaculares” series (2012–ongoing) she hand-dyed and stitched curtains inspired by the modular panels of abandoned commercial billboards in Mexico City, transforming the remnants of a dysfunctional commercial culture into theatrical environments. Recent projects such as Entrecortinas: Abre, Jala, Corre (2014) expand the scope of her practice to incorporate ceramic vessels and structural elements that invite the viewer to navigate through the space of the exhibition and experience shifting viewpoints and juxtapositions. At the New Museum, Camil will present an immersive sculptural installation created specifically for the Lobby Gallery. The exhibition is curated by Margot Norton, Associate Curator. More

“Anri Sala: Answer Me”
February 3–April 10, 2016
Second, Third, and Fourth Floors
In February 2016, the New Museum will present a major exhibition of the work of Anri Sala (b. 1974), one of the most acclaimed artists to emerge in recent decades. Highlighting Sala’s poetic and conceptual approaches to music, sound, and architecture, the exhibition will feature elaborate multichannel audio and video installations that will unfold on three of the Museum’s floors, composing an experience specific to the New Museum. The artist's video works often depict fragments of everyday life that double as portraits of society, and in his installations, Sala exposes how communication occurs outside the limits of language as well as how sounds can affect our perception of time and space. In recent works, Sala has focused on forms of classical music, and the exhibition at the New Museum will include Sala’s striking two-film installation Ravel, Ravel, which debuted in his solo presentation for the French Pavilion at the 55th Venice Biennale in 2013. Though Sala, who was born in Albania, has exhibited internationally since the late 1990s, the exhibition at the New Museum will mark his first solo presentation at a New York museum. The exhibition is curated by Massimiliano Gioni, Artistic Director, with Margot Norton, Associate Curator, and Natalie Bell, Assistant Curator.
 

PERFORMANCE-BASED EXHIBITIONS
FALL 2015 R&D SEASON: PERSONA

Wynne Greenwood: “Kelly”
September 16, 2015–January 10, 2016
Fifth Floor Gallery and New Museum Theater
Wynne Greenwood (R&D Season artist in residence) works across video, performance, music, and sculpture to explore the ways in which a single queer “self” may be pluralized and mobilized to fluidly embody different subjectivities and personae. Greenwood is widely known for her work as Tracy + the Plastics (1999–2006), in which she plays all three parts in an all-girl band, performing live as vocalist Tracy, accompanied by videos of herself portraying keyboardist Nikki and drummer Cola. “Kelly” is an exhibition and a six-month residency at the New Museum in which Greenwood will premiere the complete, recently re-performed and newly mastered archive of Tracy + the Plastics’ performances alongside new work in video and sculpture. Greenwood’s residency will include a conversation series that will address topics such as queer archives, legacies of feminist video production, and the role scripts play in performance, as well as a music series that will invite artists to perform as one-night-only bands, among other programs. Material from the historic New Museum exhibitions “Homo Video: Where We Are Now” (1986–87) and “Bad Girls” (1994) will be on view in the Museum’s Resource Center adjacent to the exhibition. “Kelly” is co-curated by Johanna Burton, Keith Haring Director and Curator of Education and Public Engagement, New Museum, and Stephanie Snyder, John and Anne Hauberg Curator and Director, the Douglas F. Cooley Memorial Art Gallery, Reed College, with Sara O’Keeffe, Assistant Curator, New Museum. More

X-ID REP
September 20, 2015–January 10, 2016 
New Museum Theater
Working within a pop-up repertory theater model, X-ID REP will examine the shifting ethical boundaries surrounding intercultural cross-play on contemporary American stages. The project brings together a group of directors and playwrights recognized for their diverse approaches to staging across various identifications of class, race, gender, sexuality, ethnicity, and ability, among others. These artists will cast a resident company of actors with whom they will collaborate to develop material that further highlights a spectrum of approaches to the topic. Their research will unfold in an open-studio environment. Participating artists: Lileana Blain-Cruz, Kirk Wood Bromley, Jackie Sibblies Drury, Kareem Fahmy, MJ Kaufman, JJ Lind, Aya Ogawa, and Niegel Smith. Visit newmuseum.org for a full schedule of events, including company auditions, open-studio study weeks, and staged concert presentations. X-ID REP is organized by Travis Chamberlain, Associate Curator of Performance and Manager of Public Programs.

Jack Ferver and Marc Swanson: Chambre 
September 24–October 4, 2015
New Museum Theater
The New Museum and the French Institute Alliance Française (FIAF) will present the New York City premiere of Jack Ferver and Marc Swanson’s Chambre, included as part of the Crossing the Line Festival. In Chambre, writer, choreographer, and director Ferver and visual artist Swanson take Jean Genet’s The Maids as a point of departure for a farcical attack on our culture of celebrity and greed. Swanson’s mythic and evocative sculptures—on view as an installation during Museum hours—function as both freestanding artworks and a theatrical set. Performed by Ferver, Michelle Mola, and Jacob Slominski, Chambre asks not how such a violent thing could have happened, but why things like this don’t happen more often. Performances: Thursdays and Fridays, 7 PM; Saturdays and Sundays, 3 PM. Chambre is organized on behalf of the New Museum by Johanna Burton and Travis Chamberlain.