Jil Sander is one of the most influential fashion designers of her generation. Her first solo exhibition ever to take place in a museum will consist of large-scale, multi-media installations and tableaus devoted to the impact of her design approach on the aesthetics, material and form of fashion and product design, architecture and garden art.

Starting 4th November to 6th May 2018
Museum Angewandte Kunst Frankfurt

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Lilium was founded in 2015 by Daniel Wiegand and three fellow-academics from the Technical University of Munich. The group shared a vision of a completely new type of transportation. In less than two years, Lilium has grown from the founding team to a company of more than 40 world-class engineers, developing and building the first fully electric vertical take-off and landing (VTOL) jet. With an estimated range of 300 km, a maximum cruising speed of 300 km/h, and zero emissions, the Lilium Jet will be the most efficient and environmentally friendly means of high speed transportation. With ultra-redundancy by design, the Lilium Jet is also setting new standards in aircraft safety.

Max Israeliana by Public School

Max Israeliana is the sequel to Pax Israeliana, published in 2014. While the previous book sought to curate the 1948 to 1977 Israeli Modernist canon using an A to Z cataloging of pertinent works, this book sets out to showcase the aesthetics of Israel from the late 1970s to the mid-1990s, considering the social, economic and political circumstances of the period. The buffer year between the two periods is 1977, when for the first time in the Israeli political annals, the right wing, led by the Likud party, won the elections, ending almost thirty years of left wing regime, headed by the Israeli Labor party and its predecessor, Mapai.

Read our short questionnaire with the founders of Public School.

Ancient Egyptians described their gods as having gold skin and lapis-lazuli hair, eyebrows, and eyelids. The colorful glass of this eye, which was once part of a human-shaped coffin, imitates the costly blue stone. Its color implies that the deceased passed all the necessary ordeals and is now among the gods and equated with Osiris.

Right Eye from an Anthropoid Coffin, 1539-30 B.C.E. Obsidian, crystalline limestone, blue glass, 13/16 x 2 5/16 x 1 in. (2.1 x 5.8 x 2.6 cm). Brooklyn Museum.

Go to the Qompendium Tumblr for more daily eye candy and mind floss.

This essay situates the work of American painter Felix Pasilis (b. 1922) in the contexts of U.S. artistic and social movements during the latter half of the twentieth century and the beginning of the twenty-first. Three reference points orient the discussion: first, in 1954, the poet Frank O'Hara (1926-1966), quoting Proust, wrote that in a Pasilis painting 'objects can exist, beautiful quite apart from the painter's interpretation of them;' second, in 1956, the poet James Schuyler (1923-1991), uninterested in the referents of mimetic art, wrote that in a Pasilis painting 'the brushmarks themselves make the shapes;' and finally, in 1958, Pasilis’ teacher, the painter Hans Hofmann (1880-1966), instructing his students in the philosophy and technique of their work, wrote that 'the picture must achieve a three-dimensional effect, distinct from illusion, by means of the creative process.'  This essay mediates among these perspectives to show how Pasilis’ art heralded a new conception of reality.  The question of when and how contacts occurred between the artist and his contemporaries has been carefully analysed, through a detailed examination of published sources as well as unpublished personal correspondence.

Selected from the CCA’s collection and institutional archives and the Phyllis Lambert fonds, the exhibition traces the evolution of her ideas and her architectural, curatorial and editorial work on the occasion of her 90th birthday.

Italian Hours offers visitors an exceptional opportunity to explore the public collections of Italian art housed in the museums and churches of Picardie. The exhibition takes its title from a travel book written by author, Henry James (1843 to 1916), in which he enthusiastically describes Italian monuments and art.

The exhibition takes place in four different locations — Amiens, Chantilly, Beauvais and Compiègne — and presents the main centres of artistic creation, from Turin to Naples, from the 14th to the 18th centuries. Two hundred and thirty one paintings, on loan from thirteen museums and eleven churches, provide the public with an overview of the scope and quality of Picardie's collections. The four exhibitions are organized in a chronological fashion, allowing the public to travel back in both space and time.

Italian Hours — Italian art from Primitivism to Rococo
Amiens, Beauvais, Chantilly, Compiègne and 14 satellite exhibitions in museums throughout the Hauts-de-France Region

From March to December 2017

Art by Alex Katz: White Impatiens, 2016
70 x 56 in. (177.8 x 142.24 cm.)
Estimate: 15,000—20,000 USD
Current Bid: 14,000 USD (reserve not met)

American artist Alex Katz is primarily known for his portraiture that synthesizes a kind of color field abstraction with realism; however, nature is a subject the artist has depicted consistently since the early 1950s. White Impatiens was created after the artist's series of paintings that depict a range of flowers. The brushstrokes of the green leaves that seemingly float amidst the flowers over the black background reveal the print's painterly origins, and is among the artist's recent and large screenprints that have become increasingly popular.

More information on: www.www.artnet.com

Concrete Happenings invites art-lovers and car-lovers, artists and scholars, drivers and pedestrians to confront the power of public art — the strange power of a massive sculpture produced by Fluxus artist Wolf Vostell. In 1970, in Chicago, Vostell encased a Cadillac in concrete. The product of that “happening”, Concrete Traffic, was installed in the University of Chicago Campus North Parking Garage on October 1, 2016. It will serve as the provocation for a comprehensive suite of exhibitions and interactive public programs — performances, screenings, talks, art workshops, happenings — that offer unique opportunities to engage with a crucial art historical moment and movement, and to explore the intensities with which an artwork can form and transform its publics.

More information here: www.arts.uchicago.edu/concrete-happenings

Raf Simons has chosen to share his label, and the design credit, with a fine artist: Robert Mappelthorpe. Last time it was a collaboration with Sterling Ruby. The Mapplethorpe Foundation sent him an email. An excerpt from the Vogue interview… How did the collaboration with the Mapplethorpe Foundation first come about? How did they approach you?
They sent an email to me. It came quite unexpectedly, I have to say. I was thinking about things for the show—I can’t say what they are, because it’s something I will work on—but I had his name on a list in my research. He and some other people were on the list. But immediately by Mapplethorpe, I put, “not possible.” I would not approach them, even if I had a strong interest. I do not have fear to approach people usually, but one way or another, it was—I can’t approach Mapplethorpe! I can’t approach the Foundation. And very close to that—maybe only a week or two weeks in between—I get this email.
I reacted immediately, because at first I didn’t understand exactly what they meant. I know what they have done—they have done a lot of shows with other people, like Cindy Sherman, David Hockney, Hedi Slimane. All these people have curated shows in galleries; they let them in the archive to select work and then they have a show. That was so not in my interest. That is the thing I thought they were reaching out to me about. But it wasn’t at all like that. They were very informed about what I did with Sterling and they were very interested to see if I would do something that strongly relates to my label, to my collections, to my fashion shows. It went really fast. I said, “Let’s start right away.” I think they thought, “Maybe, we need to start communication, and let’s see in a couple of months . . .” I felt, as it was already linked to something I wanted to do anyway, it would be nice to skip the whole thing and just focus on that.

Read full feature here.

The Icelandic Phallological Museum, located in Reykjavík, Iceland, houses the world’s largest display of penises and penile parts. The collection of 280 specimens from 93 species of animals includes 55 penises taken from whales, 36 from seals and 118 from land mammals, allegedly including Huldufólk (Icelandic elves) and trolls. In July 2011, the museum obtained its first human penis, one of four promised by would-be donors. Its detachment from the donor’s body did not go according to plan and it was reduced to a greyish-brown shriveled mass that was pickled in a jar of formalin. The museum continues to search for a younger and a bigger and better one. The fascination for male genitalia, a supreme symbol of masculine power, is widely spread. It is known that Sigmund Freud had a collection of phallus objects. Freud has been dead for nearly 70 years, but Freud’s provocative theories are still a part of psychology, neuroscience, and culture — this despite the fact that many of his ideas were mindboggingly, catastrophically wrong. Indulge into the world of Penisneid and start your own collection.

Buy Sigmund in our store: http://qompendium.com/workshop

French artist Daubal knows how to disturb esthetics with a simple and minimalistic manipulation. The clever and witty artist uses advertisements or iconic imagery for his art works by overlaying a new meaning on to them. Buy the self published book here:
www.minimalshop.daubal.com

Find more about Frederique Daubal here:
www.daubal.com/index.php/produit/overprint

Paul McCarthy is recognized for his provocative, some would say tasteless, performances, multi-media installations, and sculptures that irreverently fuse high and low culture in their biting but humorous critique of American mythology and accepted societal norms. Santa Claus porn videos, Hummel figurine parodies, and chocolate butt plugs are among McCarthy’s most well known pieces. For Train, Mechanical (2003-09), McCarthy created a pair of larger-than-life animated sculptures of George W. Bush mounting pigs from behind. “I'm interested in caricatures—from Miss Piggy to Popeye to Santa Claus—that are cultural fabrications,” McCarthy explains. “Santa is one that I've hung on to longer, that I repeat more. There's the whole thing of Christmas and consumption and commodity, and its relationship to capitalism and Western culture and Americana. The character itself is this roly-poly patriarch with a beard—almost a godlike figure.”

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DOM publishers have published a new book on Architecture in Iran, bringing together meticulous information on single cities and sites.

Thomas Meyer-Wieser
Architekturführer Iran
135 × 245 mm, 480 pages
1000 Images and Illustrations, Softcover
ISBN 978-3-86922-392-6 (German)
EUR 48,00 /CHF 58,60
Published in May 2016

More images and information here.

Manifattura is a digital publication based in New York and Milan, run by Fredrik Gruber, Milena Zuccarelli, Beatriz Lamarca and Cristoffer Övergaard.

The magazine features and works with artists and makers in various fields through collaborative projects and interviews, aiming to inspire others by creating and discovering beautiful work of different formats and origins.

Check out their website: www.manifattura.co

Cogito ergo sum is a Latin philosophical proposition by René Descartes usually translated into English as "I think, therefore I am". The phrase originally appeared in French as je pense, donc je suis in his Discourse on the Method, so as to reach a wider audience than Latin would have allowed. It appeared in Latin in his later Principles of Philosophy. As Descartes explained, "[W]e cannot doubt of our existence while we doubt … ." A fuller form, dubito, ergo cogito, ergo sum ("I doubt, therefore I think, therefore I am”)[b], aptly captures Descartes’ intent.
This proposition became a fundamental element of Western philosophy, as it purported to form a secure foundation for knowledge in the face of radical doubt. While other knowledge could be a figment of imagination, deception, or mistake, Descartes asserted that the very act of doubting one's own existence served—at minimum—as proof of the reality of one's own mind; there must be a thinking entity—in this case the self—for there to be a thought.

Travelling all the way from the land down under, we bring you the ever classical knitwear label Coogi. Founded in 1969 by Jacky Teranto as Cuggi in Melbourne, Australia, it was renamed in 1987 to Coogi to give it more of an Aussie flair. Featured in a motley of tumultuous hues, the sweater enjoyed it’s first flourish when it became a wardrobe regular on super dad Heathcliff Huxtable from the Bill Cosby Show.