aeroMAG by Camila Codino

aeroMAG aeroBASEL

aeroBASEL

aeroBASEL‘s

Contents

H Istambul Biennale

HOW CU

HOW CULTURE TR

ULTURE TRAVELS aeroBASEL www.aerobasel.com

aeroBASEL 3

THE WINGS / STUDIO DANIEL LIBESKIND

October 31.

Daniel Libeskind teamed up with the professionals at Immersive and Innovision to realize the four 10-meter-high, “shimmering” sculptures that are outlining the Milan Expo 2015’s central square. The LED-lit aluminium structures, dubbed “the Wings,” were designed to “animate the public space with a constant flow of pulsating patterns and imagery related to the theme of the Expo: health, energy, sustainability and technology.” They will remain on view through the duration of the Expo, which concludes

by Karissa Rosenfield

LINO RUSSO’S “SKYMETRIC” SERIES HIGHLIGHTS THE ARCHITECTURE OF MILAN EXPO Mid-way through the 2015 Milan Expo, Italian photographer Lino Russo is offering the

world a fresh look at the exposition with a series of abstract images that backdrops parts of the colorful pavilions with the sky.

“The subject highlights the decontextualization of places and architectural spaces in

order to alter the natural structure,” says Russo, referring to these images as his second “Skymetric” series. “These places considered have in common the fact to be all completely square, regular and schematic, so achieving geometric shots in a minimalist context, where the simplicity and cleanliness reign supreme.”

“Another point in common is the sky, infact each shot shows with a light blue background that decisively contrasts the brilliant colors of the architectures,” Russo adds. “So this places will cease to exist, the vision that result, won’t be more accostable to the original, it will recognize only systematic and organized compositions and structures.”

WEL COME TO DIS MA LAND

WESTON-SUPER-MARE — Inside the walls of a derelict seaside swimming resort in Weston-super-Mare, UK, mysterious construction over the last month—including a dingy looking Disney-like castle and a gargantuan rainbow-colored pinwheel tangled in plastic—suggested something big was afoot. Suspicion and anticipation surrounding the unusual activity attributed to fabled artist and provocateur Banksy has reached a Willy Wonka-esque fervor. Well, if Banksy’s your bag, continue fervoring. If not, there’s more than a few reasons to continue reading. 6

The spectacle has since been revealed to be a pop-up art exhibition in the form of an apocalyptic theme park titled Dismaland (“The UK’s most disappointing new visitor attraction”) that will be open to the public for five weeks. The event has all the hallmark details of a traditional Banksy event from its initial shroud of secrecy to artistic themes of apocalypse, anti-consumerism, and pointed social critiques on celebrity culture, immigration, and law enforcement. However, there’s one major deviation: the bulk of the artwork packed into three main interior galleries was created by dozens of other artists. So just what’s hidden inside the walls of this derelict seaside resort? A demented assortment of bizarre and beautiful artworks from no less than 58 global artists including Damien Hirst, Jenny Holzer, Jimmy Cauty, Bill Barminski, Caitlin Cherry, Polly Morgan, Josh Keyes, Mike Ross, David Shrigley, Bäst, and Espo. Banksy is also showing 10 artworks of his own. Dismaland features a cavalcade of artists featured here on Colossal over the last few years including pieces by Escif, Maskull Lasserre, Kate McDowell, Paco Pomet,

Dietrich Wegner, Michael Beitz, Brock Davis, Ronit Baranga, and others. Here’s some text from the event’s official brochure: Are you looking for an alternative to the soulless sugar-coated banality of the average family day out? Or just somewhere cheaper. Then this is the place for you—a chaotic new world where you can escape from mindless escapism. Instead of a burger stall, we have a museum. In place of a gift shop we have a library, well, we have a gift shop as well.

Remember to book your flight to London from anywhere in Europe

Banksy’s Besusement Park

DIS MA LAND 16 TO 21 SEPTEMBER 2015 www.aerobasel.com

Bring the whole family to come and enjoy the latest addition to our chronic leisure surplus—a bemusement park. A theme park who’s big theme is: theme parks should have bigger themes… This event contains adult themes, distressing imagery, extended use of strobe lighting, smoke effects and swearing. The following items are strictly prohibited: knives, spraycans, illegal drugs, and lawyers from the Walt Disney corporation. In addition to art you’ll also find functional a terrifying carousel, a mini golf park, a ferris

wheel, and some ludicrously impossible fair games (like ‘topple the anvil with a ping pong ball’ by David Shrigley), roving occupy protests, and a Star Wars stormtrooper who sulks around the exhibition in a state of complete misery. The park is staffed by morose Dismaland employees who are uninterested in being helpful or remotely informative. Entrance to the event requires an uncomfortably awkward NSA-esque security screening, and of course you get to exit through the gift shop. Just a quick fun note, I had the honor of helping curate a small part of Dismaland:

a program of 24 short films shown on a massive outdoor cinema that will play on a loop day and night. Films include shorts by Santiago Grasso & Patricio Plaza, Kirsten Lepore, The Mercadantes, Ze Frank, Adrien M. & Claire B., Black Sheep Films, and Don’t Hug Me I’m Scared. Dismaland is open to the public from August 22 through September 27th, 2015 and information about pre-booked and at-thegate tickets is available here. There’s also a series of events including a show by Pussy Riot and Massive Attack on September 25th. 7

Sept 5 to Nov 1 IS TAM BUL biennale www.aerobasel.com

Remember to book your flight to Istambul from anywhere in Europe

I TA BU bienn The moment that a biennial’s artist list is released these days, the press begins to go over it with a fine-toothed comb: How does the size compare to past editions? What is the gender breakdown? The geographical demographics? The emerging versus the established? Judgments are made. This magazine has engaged in that process a fair amount. But the organizer of this year’s Istanbul Biennial, Carolyn ChristovBakargiev, is not having it. She recently told Inferno magazine, “Avec moi il n’y a pas de liste d’artistes, il n’y aura jamais de liste d’artistes.” In English, “With me there is no list of artists, there will never be a list of artists.” And so the press has only been able to guess at who will be included in the show, going off of hints and rumors. Christov-Bakargiev, for her part, has thickened the plot by having the biennial release a statement that says (with italics in the original) that it: will be drafted by Carolyn Christov-Bakargiev with a number of alliances. She will seek the artistic advice of Cevdet Erek, the intellectual rigor of Griselda Pollock, the sensitivity of Pierre Huyghe, the curatorial imagination of Chus Martinez, the mindfulness of Marcos Lutyens, the acute gaze of Füsun Onur, the political philosophies of Anna Boghiguian, the youthful enthusiasm of Arlette Quynh-Anh Tran, the wise uncertainties of William Kentridge and manifold qualities and agencies to come as the process develops.

By The Editors of ARTnews

IS AM UL nale Will Kentridge contribute actual artworks along with his “wise uncertainties?” It remains to be seen, but the word on the street is that Huyghe, at least, will definitely have work on view in the show. The accompanying graphic takes a look at the recent history of the exhibition, which began in 1987. (There was a three-year gap between both the second and third and the third and fourth editions, which explains why it’s only now on number 14.) It’s perhaps worth noting that Christov-Bakargiev’s obfuscation is not a new strategy. A number of major international shows (including Christov-Bakargiev’s own Documenta 13—or dOCUMENTA (13), as she styled it—in 2012) did not provide a list of artists until the show opened. And in 2011, the curators of the 12 Istanbul Biennial, Jens Hoffmann and Adriano Pedrosa, also declined to offer an artist roster. “We are avoiding the traditional marketing strategies of biennials, with their obsession with numbers and the use of names as brands,” Pedrosa told The New York Times just before the show’s opening. “Thus we decided not to compile nor to release a list the artists in the exhibition…We honestly don’t know how many artists we have.” Eventually, though, a book was published with a complete list of artists.

GROUNDBR GROUNDB GOALS W GROUND GOALS GRAPHITE GOAL GRAPHITE GRID/GRAT GRAPHIT GRID/GRA GALLER GRID/GR GALLE GRAPHICS GALL GRAPHIC HAVE A GRAPH HAVE A HAVE Tired of rap songs about gangsters? Here’s a track by designer, rapper, and filmmaker Paul Yutaka that pays tribute to pretty much everyone in modern agencyland, from graphic designers to creative directors. Taking the listener through an A-Z of creativity, it’s brimming with tongue-twisting alliteration. In a kind of hip-hop version of Sesame Street, the letter G pays respect to:”Groundbreaking goals with graphite upon a grid/gratifying galleries, graphics that have a grip,” while J gives it up for the “Jpeg juggernauts juggling jobs/jumping these judgemental jerks dropping their jaw.”

Is this the first hip-hop track to mention kerning?

Rap song bigs up graphic designer

REAKING BREAKING WITH DBREAKING SUPON WITH A LS WITH E UPON TIFYINGA TE UPON A ATIFYING RIES, RATIFYING ERIES, S THAT LERIES, CS THAT GRIP HICS THAT A GRIP E A GRIP 11

By Lane Brown

e ’r e f iv e m onths from the rele ase of The Hatefu l Eight. H ow close to finishin g a re Is you? it differe nt now, We’ve g coming of your ot a litt off Djan c a re le er. Did bit I more th go Unc that bo don’t th hained an an x in office c k so, as and Ing hour finishe hange th lourious far as m try not to d right ings? e makin Basterd repeat th now. g I just g s? Thos th e e s m to ot back istake. R ry I wan e were r o t the bigg fr o b to o a e m d seeing tell. But rt Rodri s, and est hits an hour g I u le e h a z a rn v a in n e d o d th g f I a e th h big less ad gotte movie c e chuckle audien on with ce com ut toge n used at what Grindho to going ther. along. e ahe the aud use, and We’d s o a ie u d n r o c own wa f e th o ta I f a r 1 t te c 9 y, on the u t 6 d h rv 6 in k in g e s Are you W , a s id o it h Pulp F se weird they’re was oka t h e y ’d happy w n ic y o , ti t g to o chuckli o Am ith it? whereve n, peop o. The tr I’m not ng at yo le were ovie can r we wa ick is to commit ur movie like, “W nted. try to be do that? ting With Grin o suicide s 20 ye w ” way , I I d h o d a n h v ’t ouse, th yet. It is a e rs th n e in d v o o k e ver an wn the r seen a that’s th at what proved it is. W y li o e ne. m n n c o o e a t to be vie like ’s h e a se anym e’re ru anymore the that befo d The G shing case. It ore. I’m and try . o I th w o n re d o a in . , the Ba t talking s still wo k people ing to watche d and th ridiculo rth get to doing, conflicts the end d Djan usly e Ugly d but it o f . Then y th g o e o would Civil Wa esn’t ge and My Inglour ou go have b movie is through t into th r; it’s jus ious B een be e racial asterds t a thing a it and tr b tt o a u e n t r d th th w if y to th e e were e t a c ra make it h t’s happ o o c u ia u n g tr l n a h y ’t ft t b ermath ening. even b eing to caught they were re etter. so una , six, se rn apart B u t f ir ally out ware b ven, eig by it, an T h a t ’s st, you th y h e b t, h r d u e, ow ten yea t they g o in g ju s t uninteres get to th rs later. got it. ted peo m t o a e end. E k b T e e h f ey e lt t h e pressure ple t h is m very were. movie I’ m s e lv e s to co o v ie A ve ever s on feel cont nsider n s d o li d Y I have d o o them. e ground ne, u ’v e t m there p o n r o a . E a lk e d r It v y p has a e . r w o r th a y b s b ju a le n o t, s m ’t lw d a t v u , y t a nless I ays doing ’s t a lk rious ti “ What been s don’t p mes ab in g like about ra the fuc ome da was tha articula out k ce right that acto te we h o w , were tr t? rly ” And p when now. r. But ju ying to eople I know. I’m v someb y o u ’r e st beca unders meet, directin o e ry d whethe u ta y s excited ’s a s nd wha e g, you r it was tar do necess t I’m by that. like to d o in g with play you arily m e s n ’t Reservo w it h r e E an my audien xcited? ir Dogs, genre. their fa They’re ce fans o trying li k e a ns wan to meet not befu r t conduc F to in the Sun a d see us to ll d y le g T , e h d t t o th d . e h d a r y e o e n r. There work es an ce don’t t date, or is s u e orches hink I’m w h it e s of as m is such Pulp Fic doing it tra. uprema y kind o a thing tion, As time meeting wrong. f actor, c goes on y b e is in the Can g a th T n h ta e g d e a y e lk y n h t p a e d o ull off m it. udienc d about w well nes date.Bu y dialog es bec and ve dealt wit t we a ue is a v So wh ome ry impo h. And it lways more pull it ery, a rt t ant part ’s what sophist is H a t off. An a movie icated of it. Th ef u l the movie’s a Eight sa d this and a is w b way yo ying ab out. here a is ccustom u don’t out the Brad or wouldn ed to 2010s? have your sty a Leo ’t work. that sit le It D , uation does th ja n g o needs to ensemb I’ m n o where becom at Uncha be an le where you finis t t r y in e harde in e d im h a n d h the m obody is g r? J a m p t m o o a rt ie F k a ra o e more nt than vie Foxx a nkly, so and the H a t ef u anybod phistica nd l E ig h t Leonardo n the p contem y else. . ted eople a u d ie n D iC who pa p a p o rio on S ces ar rary in id to m e not ince you any the poster. In way, sh ake it a p r o glouriou get to s ’re good ape, or b le m . B it aroun a s at it, do s te f a D o n rd r I’ u y respo m m m s . d and a u d ie n h you fee b ju a d s pick it to t B nsibility rad Pitt. trying l ces a With Ha to death. to write fo r e te m r women teful Eig y story. ll problem a roles o It gets h u t, . But I ts th to ide of th e Holly p-billed to be think a little to e typica wood d audienc cast is So yo o much l emogra es are g K R u u don u r t s w s I e p e d h y ll h tt o e o , ic in n n ’t S u ’t ? m g a tr h m o g y to do th a re soph et notes fr v J e a c a k n son, all y respo isticated at, when a n d J e n om the you try to . I’ve be nsibility studio that’s — n if e r J anymore en mak at make a just a p a s L o e n ing mo ? ig h 2 ro ip h 0 W p . d ie y u e e c W o v s a t ie tern or tr f time. rs a s s , No, you fo a n r there d as gre In the y to ma do. Oh, of thos at as so ’50s, a co ke ever pressure yeah. audienc e decis unterc me to get a es acce io b n ig s I mad u lt u r e ger sta first ten Western pted a level o e in the r? years w . f artifice No. If e re, I pro w o H that u ld n ’t there’s ateful E the au bably make ight use a part d ie n c e them What I s the that a huge s in Civil Wa 1966 w a g a in . star cou mean is r as a ba ould ch ld the , I reall ckdrop, play, and th uckle sort of scripts at. And y liked at star w like ho I the aud wrote, ere like w The interested iences and I re Good, th d my ch of 19 in playin ally e Bad a a ra 78 w cters, b g th it e , nd the re wou o v o u ld Ugly do e ut I was re namore ld defin es. n’t d, and I itely pre wasn’t cious a th bout th at 12 em. Bac k then,

I got mu ch more excited liked th by cool e idea o casting f ta king an liked bu .I actor I’v t wasn’t e always b eing us and putt ed muc ing him h anym in the m ore people ovie an what he d showin could d that wa g o. But I y anym don’t fe ore. No characte e l w it ’s all ab rs. I actu out my ally thin are goin k my ch g to be aracters one of m after I’m y bigge gone. S s t le gacies o I hav whatso e no o ever oth b li e gation r than to I did a N just cas ightline t it righ interview It was m t. with som e, Leon e dingb ardo DiC Foxx, an a t. a prio, an d they w d Jamie ere ask that. I g ing abo o, “Look ut stuff ,I like

like these guys, but I love my characters. Their job is to say my dialogue.”

nostalgic about the ’90s, it’s for the lack of everybody being connected to all this technology all the time.

What made you cast Jennifer Jason Leigh? Do you still write your scripts by hand? I’ve always really liked her. I thought in the back of my mind that Hateful Eight was sort of like a Western Reservoir Dogs, and I thought there was something very apropos about that for where I am in my career — there was a full-circle quality. To me, something screamed ’90s about this movie, and so I thought that this should have some of the really cool ’90s actors, but now: pretty boy Mike Madsen from the ’90s, but now. Pretty boy Tim Roth, with his blond hair, but now. And Snake Plissken [Russell], but now. So when I was looking for [the character] Daisy, I could have seen Jennifer Lawrence doing a good job with the role. I’m a very big fan of hers. I think she could end up being another little Bette Davis if she keeps on going the way she’s going. I think her work with David O. Russell is very reminiscent of William Wyler and Bette Davis’s.7 Having said that, though, Daisy should be a little older. She should fit in with the guys. Jennifer Jason Leigh came in and was really good. She went for a couple of things that other people just kind of playacted. She had to act like she got shot, and she just screamed bloody murder. I kept remembering Jennifer’s bloodcurdling scream. If it had happened in a house, somebody would have called the cops. Are you nostalgic for the ’90s? I’m not, even though I think the ’90s were a really cool time. It was definitely a cool time for me. But almost like how Bob Dylan had to survive the ’60s so he could be not just considered an artist of the ’60s, I had to survive the ’90s so that when VH1 does their I Love the ’90s thing, they wouldn’t mention me. I think the jury was out about that for a while. But if I am going to be 14

Let me ask you a question: If you were going to try to write a poem, would you do it on a computer? That’s true. I wouldn’t.

It would be wonderful to make my tenth movie my best movie — go out with a big bang, or with a small chamber piece after a big bang. I think about that every once in a while, but it’s not a real consideration. I just make one thing at a time. There are a few movies I’d like to do, but once I’m done with Hateful Eight and I’ve had a little time to myself, anything I think I’m going to do now, I know it’s what I won’t do later. I’ve got to leave myself open for the right story that talks to me.

You don’t need technology for poetry. You’ve been criticized for your entire career, namely, your use of violence and the N-word. Do you listen to any of that anymore? Social critics don’t mean a thing to me. It’s really easy to ignore them, because I believe in what I’m doing 100 percent. So any naysayers for the public good can just fuck off. They might be a drag for a moment, but after that moment is over, it always ends up being gasoline to my fire. You’ve won two Oscars for writing. Does it bug you that you’ve never won for directing? No. I would have liked to have won Best Director for Inglourious Basterds, but I’ve got time. And I’m very, very happy with my writing Oscars. I will brag about this: I’m one of five people who have won two Original Screenplay Oscars. The other four are Woody Allen, Charles Brackett, Billy Wilder, and Paddy Chayefsky. I actually didn’t know that until somebody wrote it on a website. I went, “Holy shit!” Those are the greatest writers in the history of Hollywood. Now, Woody Allen has us all beat. He’s won three, so if I win three, I’ll tie with Woody. You’ve talked about retiring after ten movies. If you stick to that, you have two left after Hateful Eight. What would you like to accomplish with them?

Most of your characters are motivated by revenge, but you’ve been very forgiving lately. Bruce Dern’s reps allegedly leaked the Hateful Eight script, and he’s in the movie anyway. Ennio Morricone criticized Django Unchained, but he’s scoring Hateful Eight.14 Are you mellowing out? I probably am mellowing. I’m happy about that. I was a pretty angry young man, but if I were angry now, it’d be like, What the fuck is my problem? I’ve got a really terrific life. It’s so rare to be an artist in my position. How can I get mad at anything? I get irritated, but I have mellowed. Life’s too short.

TARANTINO’S TIMELINE

O V R E S S E G R DO IR

1 PULP FICTION2 JACKIE 3 KIL L B4 ILL F 5 O O R DEATHP INGLORIOUS BASTERDS6 DJANGO 7

BROWN

i-11

v, ko ha r orc ato i G ransl aly t dre It h nd y An et ide a roug entur po a h u c ian by g ing t 8th- nt sp , 1 l d uss ie ico nie rave f an anc eR en is Th ompa is t life o an Dom dh n , acc enia g the ser. I natic isone ears r y g chin po e lu mp en Eu rld. r ea com ts th had i r sev e wo ’s e res sian fo th nico me s lier of se Ru n, he s ear hou evils ome . In a r im his he ia in D h t tow yea y in from truth n to stalg s o mil wh hi p no aw r r s em o d ’ n fa ee ow ave th me d mes poet ging f enia g o o to s ing s i bec s, the is lon or Eu with h e m re sf hip Se nd s and ing rea l n i d d ,A e k d. act es of elan nt fe e of i m le ine s ser is ho biva s sen tertw m h i n for , his a nd h me i e , a eco wif aly b d It nico an me Do

A g l e uide a two d s m thr en o an u g h k n area ow as n th Z o n e to e fin a d r t h oom a gr t a wis n t s he s.

MOVIES O Th e li v of din es of er ba two m Q nd ob u its inte hit m en rtw e ti ine n, a n T in f box ar a e ou r ta r, a g nti a les n of ngste o vio r len ’s w Pu if ce an e, an lp dr ed d a p Fic em a tio ptio ir n n.

ski v rko Ta i dré n A

An dré iT ar

ke r

St al

ko vs k

hia g l ta os N -

Th e ec s ce tory ntr ke of ic e Fr e h o w ma per a k an an er at nd am nch db t s efr empt ateu hop to ie h e r cam ave t nd B d to l film o h a Th era b e ar nksy cate t ef ilm ack o ist tu , only of rn c n Fa B a n onta its o the irey ins ks wn y , In the vad , S foota er. w he o g gra e r ffit ldâ&#x20AC;&#x2122;s m r and p h a e i ar r m d o tist st in any o sa f t w amo f ork us .

ON STREAMING Ba nk sy -

e. tur cul ual vis bal glo nd n, a sig de hic rap y, g ph gra ypo ut t bo ry a nta me ocu Ad

twi t s Hu ry a G

m kI e -ta n o Kw

Ex it T hro ug ht he Gif tS ho p

eti elv

wa h i h

-C

of e tim nd a a t l In ca res n liti p o i a l u enth , c s o i n e t e orea n y K th, in r u ntu n c o h t ce u g u a n f - t a lores p l l ra se r ex nte n a t u s t d pai mi h i s t a sive es en t a l repr o u n d r the l d a r wo . him

o se

OUR ITI NER AR IES

ART BAS EL/ DA TES

2015 2016 2017 15-17 March: Art Basel Hong Kong 18-21 June: Art Basel 3-6 December: Art Basel Miami Beach

24-26 March: Art Basel Hong Kong 16-19 June: Art Basel 1-4 December: Art Basel Miami Beach

23-25 March: Art Basel Hong Kong 15-18 June: Art Basel tbc December: Art Basel Miami Beach

aeroBASEL

SLEVA

aeroBASEL

AVELS HOW CULTU