12 posts tagged "MoMA"
Minimalism is in the air. Despite Raf Simons’ protestations that he isn’t only a minimalist, the word has hung over his collections and informed the discussion about his taking over at Dior. Meanwhile, one of fashion’s most famous minimalists, Jil Sander, is headed back to the house she founded (and Simons vacated). Minimal chic has ruled the runway these past few seasons, even if Fall brought with it a hint of the baroque. And at the Museum of Modern Art last night, minimal came back in a big way: Minimal pioneers Kraftwerk returned to the stage for the first of an eight-night retrospective. Each night is loosely devoted to a performance and on-screen “3-D visualization” of one of the band’s studio albums, ranging from Autobahn (1974) last night through Tour de France (2003).
Simons, for what it’s worth, is an outspoken Kraftwerk fan who’s created men’s shows inspired by the seminal electronic group. So is Klaus Biesenbach, MoMA’s chief curator-at-large, who dreamed up the retrospective of sound and image for a lucky few. The museum’s Marron Atrium, where the shows are held, has a capacity of only 450 people.
Last night brought together such strange bedfellows as Kim Cattrall and Terence Koh, who danced to a smattering of Kraftwerk’s most influential hits. Opting for a white plastic jumpsuit made by designer Mary Ping, Koh looked the most prepared in the room for any potential effects of “Radioactivity,” which displayed as 3-D text from the stage’s screen while the band played the title song of their 1975 album, which made for the darkest, most political moment of the evening.
Politics aside, for those lucky enough to have tickets to tonight’s, or any of the remaining, performances, prepare to be wowed. The current members of Kraftwerk are in full form, and are as sonically and visually intriguing as ever. And for those still reeling in lament over MoMA’s faulty, non-Ticketmaster-like approach to ticket sales for an event as monumental as eight back-to-back Kraftwerk shows, all hope is not yet lost. As part of the complete Kraftwerk-Retrospective 1 2 3 4 5 6 7 8, a presentation of Kraftwerk’s historical audio and visual material will be on view in the Performance Dome of MoMA’s sibling museum, PS1, from today until May 14, which is sure to be almost as maximal as having seen the band live.
We haven’t even bought our winter coat yet, but celebrities have been racking up Spring dress credits since the shows wrapped last month. See: Gwyneth Paltrow displaying her finely tuned thigh muscles in a one-sleeved Stella McCartney mini not all that unlike the long version that Nicole Kidman wore a week earlier to the Country Music Awards, or Tilda Swinton and Elisa Sednaoui, both in vibrant silk pants ensembles from Haider Ackermann’s latest lineup, at the Prix de la Moda awards last week in Madrid. Carey Mulligan and Miranda Kerr worked Peter Pilotto‘s peplumed scuba dresses to perfection on The Late Late Show and at the MoMA gala for Pedro Almodóvar, respectively, but we’re guessing that you have a favorite.
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The performance artist Marina Abramovic titled her Museum of Modern Art show The Artist Is Present. Why? Because the artist is present. Among the many Abramovic pieces re-created for the exhibition, the one drawing most attention is a simple desk at which the artist has agreed to sit silently for the entire duration of the show, and invites spectators to take a seat for as long as they like (or can stand). The sharp-eyed ladies at Jezebel noticed that Abramovic’s table has hosted some famous visitors over the course of the show, which runs through May 31. (Each sitter is photographed for the museum’s Flickr page.) Sharon Stone, Rufus Wainwright, Lou Reed, Christiane Amanpour, Isabelle Huppert, and André Balazs all came to sit for a spell. We’d try to reach Abramovic for comment, but we’ve got a feeling her lips are sealed.
Given the gossamer effect of the clothes in Jeffrey Monteiro’s first Resort collection, you would never guess that the designer found his inspiration for the season in architecture. “I went to MoMA for the first time in a few years, and I was studying the Jean Nouvel tower,” Monteiro recalls. “What I like about the work is that it’s not about a flat panel of glass; it’s all angled and cantilevered, so it looks like it’s moving.” Likewise, Monteiro has taken metals and made them move: His Resort collection features solid silks dappled with iridescence, a metal floral print developed in-house and served up in blouson shapes, and an all-silver tunic dress that’s already been poached by Monteiro’s Mirror/Dash partner in crime, Kim Gordon. She wore the dress for a Sonic Youth performance on the Jimmy Fallon show on Monday night.