August 21 2014

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2 posts tagged "Sophie Calle"

Istanbul’s “Sense Of Opportunity And Possibility” Draws A Crowd—Including Dunst, Swinton, Ackermann, And Love


Istanbul’s population unofficially tops 16 million. This past weekend, it felt like every single one of them owned a car—or at least was driving one. Guests at Istancool—the second Istanbul International Festival of Culture, to give it its full title—became intimately acquainted with the world through a minibus window as they negotiated the route from the Edition Hotel (seven stars! and a Snow Room!) to the various venues around the city. It was a useful education. Istanbul sits at a huge crossroads, geographically (obviously) but also conceptually. Michael Stipe, there for a presentation of his Collapse Into Now film project, went so far as to compare Istanbul’s “sense of opportunity and possibility” to the feeling New York has always given him. The project—a work in progress—has been corralling filmmakers to produce short pieces to accompany songs on the latest R.E.M. album. Liberatum offered a first view of a fast, furious, and funny film James Franco has made for “That Someone Is You,” which was the kind of coup that is critical to the festival’s success, according to Jefferson Hack, who hosted the Stipe event. (His magazine Another was the festival’s media collaborator.)

A different kind of coup was the presence of Kirsten Dunst and Tilda Swinton, both just off the plane from Cannes, where Dunst won Best Actress for Lars von Trier’s Melancholia. At 29, she has already spent more than two decades onscreen and experienced as many character-building extremes as show business can hurl at a young woman. (Lest we forgot, the heavily accented English translator of her Turkish introduction sonorously intoned, “We know her as the lover of the spiderman.”) Nevertheless, Dunst was gratifyingly, girlishly floored by her Cannes award. And she looked appropriately radiant in her Chanel couture at Istancool’s gala dinner. Continue Reading “Istanbul’s “Sense Of Opportunity And Possibility” Draws A Crowd—Including Dunst, Swinton, Ackermann, And Love” »

chanel in the park: une défense


By now, anyone with an Internet connection knows that Chanel’s new art container concept, Mobile Art, has landed on Central Park’s Rumsey Playfield. What’s not to love about a globe-trotting exhibit inspired by the beloved 2.55 quilted handbag, you wonder? Just ask The New York Times‘ architecture critic Nicolai Ouroussoff. It seems the Zaha Hadid-designed spaceshiplike structure—which houses original works from 20 contemporary artists including Stephen Shore, Sophie Calle, and Yoko Ono—struck Ouroussoff as more than a bit indulgent. We’d like to take this opportunity to defend the French fashion house and its traveling homage against such recession-minded reticence.

For its placement in the park, Ouroussoff accused the Chanel pavilion of “dismantling the boundary between the civic realm and corporate interests.” Hmm. With taxpayers set to funnel $700 billion straight to Wall Street, we can’t help but feel this is the least of our worries. Fashion has long been prone to frivolity; it’s part of our charm. But to hold something that’s drawing cash-strapped crowds and even creating jobs (as reported by the WSJ) against us as an example of our utter obliviousness to the crumbling financial world is, like, way harsh. Admission is free, after all.

Oh, and one more thing. “An elaborate mousetrap for consumers?” Please. How elaborate could it be if nothing is for sale? Century 21. That’s an elaborate mousetrap. This is really more like a subliminal messaging system whispering something we’ve known all along: Chanel is chic.

Photo: Billy Farrell / Patrick McMullan