Aug 29, 2015

The journey in my mind from hearing Fritz describe this and projecting a bunch of imagined scenes in my mind to seeing actual images of the place start to appear on Instagram then Skyping with him… and now to see it here.

Super energized by the complexity and wholeness of this project. I hope to visit!

Part 2 coming through Frieze in Sept. Originally via the Walker Art Center.

              

Aug 28, 2015

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Some nice Franz West vibes via hoolawhoop :) a certain kind of nudity and art has been looking right lately. I believe I may be in the final stages of becoming a hippy… 100%. It’s not nostalgia, it’s more saudade.

From the catalogue: Franz West, ‘Proforma’, Museum Moderner Kunst Stiftung Ludwig Wien, 1996

              

Aug 26, 2015

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MAN-O-MAN-O-MAN-O-MAN

Trix + Robert Haussmann book designed by Dan Solbach (pic above) for Fri Art-Centre d’art de Fribourg / Kunsthalle Freiburg, Fribourg 2015.

Discovered it on Void()… always a bewilderingly amazing and inspired piece of magic.

The exhibit includes this fantastic mirror installation…

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Plus a bunch of their mirrors…

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And a bunch of their furniture and object work.

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Holy shit I love Robert and Trix Haussmann.

Please enjoy the time and space.

PURPOSE / URGENCY              

Aug 24, 2015

Urgency is a wretched condition. I hate that. So it’s hard to discuss it here. There are specific sorts of urgency that make sense to me. Familial exigencies, for example. Or, it’s November and New York is getting cold, and there are increasing numbers of people without shelter or food, whom you pass every day as it grows colder. Urgency in ‘the culture,’ on the other hand, seems to be tied to an anxiety about keeping up and not missing out. That mandate might be parsed like this: stay on top of work deadlines, all the while steadily shunting your worker- self in a direction you sense to be ‘upward;’ maintain a passable grasp on current events; register technological shifts, debates of the moment, new books and movies; and follow the doings and opinions of people to whom you grant authority via steady drips of pictures and remarks. These are marketplace feelings. They’re linked to the way that desire and taste and identification are swapped and leveraged. This probably used to be more of a Western metropolitan thing, but digital culture has helped to transubstantiate the market into a gas, it gets to be some kind of Terran atmospheric condition. In terms of cultural urgency, the obvious forerunner was fashion, or what’s become the global fashion system, which compels you to internalize subtle shifts in the atmosphere, and where seduction plus insecurity yields the sense of urgency. It’s banal to observe that fashion is a ‘control structure,’ and that kind of phrase makes it sound doomy when it’s also a source of such pleasure and play, but there it is. Maybe urgency too often boils down to chasing fashion. Then there’s digital culture, which is about staying abreast of new products and current updates, and also achieving the state of being able to tap into your shit at all conceivable times and in all possible places, in order to simultaneously render every facet of your selfhood as accessible and as secure as possible. Which is paradoxical, and more interesting for that. But these anxieties only end up calling The Cloud down upon us. The Cloud represents the air-tight control structure as platinum-certified MBA turd. The dream of the market is that if everything can be reduced to a common currency, i.e. binary code, this allows effortless transmission with no value lost on the conversion, with the aim that anything, virtual or material, may eventually be frictionlessly exchanged for absolutely anything else. But not by you. And then there’s the art world. The urgency that we deserve revolves around knowledge and competition and the pursuit of intellectual trends, but sometimes just worrying over What Are The Wealthy Into, which is a dead end, or What Are The Youth Up To, which elicits a reaction along the lines of: “We ’re pleased to have the sinking feeling that they’re up to something important but unintelligible.” Crowded from behind even as your face mashes up on the out-door. I do believe that the urge to keep up with exhibitions and events, through travel and participation and trade mags, is ultimately a professional, or even a professionalizing, quality. But I don’t see myself as a professional, and I don’t think art is a job.

Seth Price

via Mousse

Please enjoy the time and space.

L’urgenza è una condizione maledetta. La odio. Per questo mi è così difficile parlarne qui. Ci sono tipi specifici di urgenza che capisco bene. Le esigenze familiari, ad esempio. Op- pure, è novembre e a New York comincia a fare freddo, e man mano che la temperatura scende, si vedono ogni giorno sempre più persone senza tetto, né cibo. Oppure capita il contrario: fa un caldo inverosimile a no- vembre, di nuovo. L’urgenza nella “cultura”, invece, sembra più legata all’ansia di stare al passo con ciò che succede senza perdersi nulla. È una missione che si potrebbe espli- citare così: rispettare le scadenze di lavoro e al contempo orientare la propria identità professionale in una direzione che deve es- sere “in ascesa”; mantenersi passabilmen- te informati sui fatti del giorno; registrare i cambiamenti tecnologici, i dibattiti del mo- mento, i film e i libri in uscita; e seguire le azioni e le opinioni delle persone conside- rate autorevoli attraverso somministrazioni costanti di immagini e di dichiarazioni. È la percezione del mercato, che registra i flus- si di scambio e acquisizione dei valori del desiderio, del gusto e dell’identificazione. Probabilmente in passato era un fenomeno più tipico del contesto metropolitano occi-

dentale ma la cultura digitale ha contribuito a trasformare il mercato in un gas, per cui è diventato una sorta di condizione atmo- sferica terrestre. Quando si parla di urgenza culturale, l’ovvia antesignana è la moda, o ciò che è diventato il sistema moda globale, che ci obbliga a interiorizzare i mutamenti sottili nell’atmosfera, e dove la seduzione sommata all’insicurezza produce senso di urgenza. Suona banale definire la moda una “struttura di controllo”: è un’etichetta che la fa apparire oscura mentre è anche una fonte di grande piacere e divertimento, ma tant’è. Forse l’urgenza si riduce troppo spesso a in- seguire la moda. Poi c’è la cultura digitale, che vuol dire stare al passo con i nuovi pro- dotti e gli aggiornamenti, e anche consegui- re una capacità di connessione con le pro- prie menate sempre e ovunque allo scopo di rendere al contempo qualunque aspetto di sé massimamente accessibile ma sicuro. Il che è paradossale, e proprio per questo tanto più interessante. Ma queste ansie non fanno altro che richiamare la “Nuvola” su di noi. La “Nuvola” rappresenta la struttura di controllo ermetica in quanto stronzata certi- ficata dalle massime istituzioni finanziarie. Il sogno del mercato è ridurre qualunque cosa a una valuta unica, per esempio il codi- ce binario, per consentire una trasmissione

facilitata al massimo senza perdita di valore alcuno nella conversione, con l’obiettivo di rendere in futuro qualunque cosa, virtuale o materiale, interscambiabile senza difficoltà con qualunque altra cosa. Ma non diretta- mente da te. E poi c’è il mondo dell’arte. L’ur- genza che ci meritiamo ha a che fare con la conoscenza e la competizione e il persegui- mento di tendenze intellettuali, ma qualche volta vuol dire anche solo preoccuparsi di Cosa Piace ai Ricchi, il che è un vicolo cieco, o Cosa Fanno i Giovani, che suscita una rea- zione del tipo: “Siamo lieti di avere la spiace- vole sensazione che stiano facendo qualcosa di importante ma incomprensibile”. Spin- ti dalla folla che si accalca da dietro con la faccia ormai spiaccicata contro la porta d’u- scita. Credo che l’urgenza di stare al passo con esposizioni ed eventi, attraverso viaggi e partecipazioni e riviste specializzate, sia alla fine una qualità professionale, o addirittura professionalizzante. Ma io non mi considero un professionista, e non penso che l’arte sia una professione.

di Seth Price

via Mousse

Si prega di godere il tempo e lo spazio.

.TSAP EHT NEVE …EMIT EHT FO LLA GNIGNAHC SYAWLA SI GNIHTYREVE ,LLA RETFA .WON FO EVITCEPSREP EHT MORF NIAGA EREHT KCAB REGNIL OT TNAW EW ,OS ?TNESERP EHT NI GNITANIMLUC ATROS TSAP EHT T’NSI .EMIT FO SNEL CIMEDACA RAENIL EHT MORF DESAELER …TENRETNI EHT YB EERF TES NEEB SAH TI TAHT WON YLLAICEPSE .TSAP EHT DEVOL SYAWLA EV’EW              

Aug 15, 2015

WE’VE ALWAYS LOVED THE PAST. ESPECIALLY NOW THAT IT HAS BEEN SET FREE BY THE INTERNET… RELEASED FROM THE LINEAR ACADEMIC LENS OF TIME. ISN’T THE PAST SORTA CULMINATING IN THE PRESENT? SO, WE WANT TO LINGER BACK THERE AGAIN FROM THE PERSPECTIVE OF NOW. AFTER ALL, EVERYTHING IS ALWAYS CHANGING ALL OF THE TIME… EVEN THE PAST.
Originally Posted September 17th, 2010…
The work of ROLU, rosenlof/lucas, ro/lu is featured in the new issue of Dwell.
The hard copy hasn’t arrived in the mail yet but the online photos by Dean Kaufman are great! Chk the slideshow!
It was an honor to work with great clients, Andrew Blauvelt and Scott Winter, and of course Julie Snow, one of our favorite architects.
Please enjoy the time and space and change that happens in them.

              

Aug 10, 2015

va2015ipop_cover_final_without_spineIPOP catalog_cover23 AfterHoursPreviewParty_insideSo blown away by the International Pop show at the Walker Art Center. If you can’t go, books are always better anyway? Or maybe I’m the only one who thinks that? :)

For me, the exhibit is proof that what I’ve long believed is “truth” is also in fact true: history is a living thing that changes all the time as our knowledge, wisdom and awareness grows. And as our egos grow quieter, our need to control a historical narrative fades and becomes the enemy… then some much more flexible idea of what was and what is starts to emerge. It is always available if we want it.

There is so much amazing work here, and when you’re in the exhibit, the inaccurate partial history of Pop Art that academia and institutions previously shaped and told doesn’t really register that much or even come to mind. I barely even thought of it while I was there. It is a GORGEOUS show. And by the time I got to the Hockney piece near the end, my vibe was way more sensual then semantic (thx JT.)

The book is inseparable from the show but becomes its deep breaths. Designed by our friend Andrea Hyde it’s a beautiful tribute that becomes a platform for this set of ideas to begin teaching again about what really happened… and what is really happening around these ideas, these works, these artists, the collections they emerged from, the past–which is only real in the present–and the life it will all live tomorrow.

Here’s a nice interview about the book with Andrea by Madeline Weisburg.

In the interview they discuss the “objectness” of the book and at one point Andrea says “As I mentioned before, in response to your question about the “objectness” of the book, International Pop needed to feel like an artifact, and the permanence of the book as an object helps the ideas within it feel permanent as well.”

Her using the word permanence made me think about one aspect of the exhibit’s mission: retelling this history in an open and more expansive way. And then I wished that, within the exhibit, there was a list of every single work the curators Darsie Alexander and Bartholomew Ryan had considered including in the show that didn’t make the final cut. Because the nature of a show, a book, and the inherent permanence involved seem to start the whole process of misunderstanding how history works again. 

I would’ve loved seeing an attempt to set the history, the works and the ideas free rather than placing them in a new container. I felt so much joy looking through the Walker’s site at this exhibit and continually coming across a notice that said “This event has passed.”

I mean, every new sentence changes the context of the preceding one right? And what would anything be without everything else? 

Truly one of the best shows and catalogs I’ve ever seen.

So huge congrats to Andrea Hyde and all involved on a truly epic living exhibit.

IPOP catalog_16-17 27 IPOP catalog_40-41 2 IPOP catalog_58-59 IPOP catalog_68-69 IPOP catalog_74-75 IPOP catalog_94-95 IPOP catalog_118-119 1 IPOP catalog_120-121 IPOP catalog_230-231 IPOP catalog_236-237 IPOP catalog_260-261 IPOP catalog_268-269 IPOP catalog_284-285 IPOP catalog_294-295 IPOP catalog_302-303 1

Please enjoy the time and space.

              

Jul 22, 2015

TheDowlandShop_at_C'H'C'M_02Our friend Matthew Chrislip is a designer who works under the studio name Dowland. He has a small “pop-up shop” happening at the fantastic store C’H’C’M located at 2 Bond Street right now, but it’s not really a pop-up shop… it’s something much more interesting than that. We were psyched about it and his practice in general so we decided to ask him some questions.

001_F

RO/LU – We know you through our friends Brian and Elizabeth (Various Projects, Project No. 8, Arratia Beer) and I know you’ve worked on some of our collabs with them. Amazing people. Are you still involved there or does this new work represent a new time for you?

Matthew Chrislip – I’ve been working with Brian and Elizabeth for about three years now. Our first connection was through my independent design work, actually. Four years ago I produced a small collection of quilted neckties that I was making in my apartment, and Brian and Elizabeth carried the ties at Project No. 8. The collection actually started and ended at their Orchard Street store. They placed a small order, those sold out, they placed a second order, those also sold out… And then I was too busy with grad school to keep up with the extremely slow task of quilting individual neckties.

It wasn’t until a few months after I stopped producing the ties that I first met Brian face to face. I asked if he and Elizabeth would consider hiring me for the summer between my two years of grad school, and they generously made room for me in their design practice of two. It turned out to be a great fit. We all think and work very similarly. There always seems to be easy understanding and quick consensus.

One of my first projects as a member of the Various Projects team was our collaboration for your residency at the Walker in 2012. I helped Brian and Elizabeth design the garment for ‘Participation as Performance,’ and I also worked with Brian to design the ‘Partial Instructions’ guide and edit the accompanying video. It was career-affirming to be in the middle of all of that. Prototyping on my sewing machine, shooting the prototypes on my partner and creating illustrations from those photos, even acting as the ‘dresser’ in the video. The project touched on so many of the disciplines that I was already involved with.

Brian and Elizabeth have always been very supportive and encouraging of my independent practice, which has continued the whole time that I’ve worked with them. So yes, I’m still involved with Various Projects, and no, this isn’t really a new direction for me. But I’m about to move from New York to London, so who knows how much of that will change in the coming months. I suspect I’ll always be connected somehow to Brian and Elizabeth.

001_E

RO/LU – I guess I always assumed you were a designer but our communications were usually about whatever work was at hand. What is your background and how do you describe yourself, this new project and your future?

I’ve been employed as a designer since I was 16 years old, which makes 17 years now of off-and-on design practice. I started doing web design as a kid in the mid-90s, and from there I pivoted toward general graphic design practice. I studied Graphic Design and French Studies at Brigham Young University, and after a few years of freelancing in New York—mostly as a book designer—I enrolled in the Graphic Design MFA program at Yale. At this point, I don’t really identify as a graphic designer. I just think of myself as a designer. Of, you know, stuff. By now that list of “stuff” includes graphic design, products, clothing, environments, and research. (And a bit of teaching, too, including a class at Parsons that I co-taught with my friend Jessica Svendsen.)

I officially launched my independent studio practice—Dowland—back in 2008, but most of what I’ve done in that time has happened very quietly and slowly. I’m the accidental poster child of the slow movement, I guess. My imminent move from New York has got me scrambling to finish a lot of projects, though, so hopefully this slow burn will quickly grow into something a bit more… consuming.

RO/LU – Before we talk about The Dowland Shop and the upcoming show, can you talk about some of the other work on your site? The blocks!? <3

Yes—the TYLR Blocks. Speaking of slow. I came up with the shapes and concept about six years ago, just after my first nephew was born. His name is Tyler. The blocks are pretty typical of the way that I work. Visually, my work can seem almost obvious. Definitely simple, usually understated, and generally pretty quiet. The forms are meticulous and almost obsessively intentional. And yet, at least to my eye, there’s a natural and matter-of-fact quality to the aesthetic choices. But underneath each project is a strong conceptual framework.

With the TYLR Blocks, the driving motivation was to identify the simplest geometric forms that are open / dynamic / reactive / incomplete. Meaning, not closed / static / inert / complete. I wanted forms that really beg to be manipulated, added to, and subtracted from. Working on a basic cubic grid, I came upon the two shapes that comprise the system. They can teach so much—construction, mathematics, balance, volume, texture, pattern, harmony, and friction—and yet they’re almost completely non-representational, and infinitely scalable. They remind me of a line about Montessori education that David Reinfurt once quoted in an essay: Everything is in everything.

I hope to make them into furniture, too.

Now, finally, after six years, I’m making moves to have the blocks produced. But I’ve yet to figure out the financial side of it, so maybe you’ll see the TYLR Blocks on Kickstarter sometime soon.

And speaking of David Reinfurt: Another recent project of mine is designing and publishing a second draft of my grad school thesis writing (which was never really published itself). To this day, I’m not sure that anyone has read actually read my entire thesis text, so I wanted to force the ideas out into the light and see if they thrive or shrivel. With that goal in mind, I invited David to read and make notes on a few sections of the thesis text, and I’ve typeset his notes alongside my original text. In a few places, I’ve even indulged in some back talk, responding to David’s notes and trying to engage in a more circular dialogue. The process has been a lot of fun. Our conversation starts with my thesis work, which revolved around the design cultures of what I’ve taken to calling “separated individuals” (hermits, monks, and the like), and then spins off into strange and alien territory. Between the two of us, we cover fashion theory, gravitational attraction, methods of diagramming, mathematical rounding, a little Wittgenstein, some George Nakashima… even Carl Sagan and J.Crew. It might be interesting only to me and David, but I’m excited to wrap up this project soon and see if anyone else can stand to read it.

Beyond my own design projects, I’ve recently paired up with my partner, Michael Hall, to create an entity that we call +Partners. We use this moniker to focus on projects relating to the design and preservation of environments and places. Our first project was to lead a (successful!) campaign to win landmark designation for a clock tower near our apartment in Long Island City.

I like to work broadly.

001_B

RO/LU – We also love Sweetu and his shop C’H’C’M! How did this Pop-Up shop come about.

Sweetu’s shop shares a space on Bond Street in New York with the Various Projects studio, so he was one of the first people to hear about The Dowland Shop. He was also the second person to make a purchase. Initially, I was just selling online. But one day I started talking with Sweetu about my idea to create a display unit that would function as the physical presence for The Dowland Shop, traveling around other spaces as a pop-up, and he offered to let me put it in C’H’C’M. His shop is sharp and whip smart, but not at all pretentious. It’s a great place for my inaugural pop-up.

RO/LU – OH and BTW! Those amazing weavings that Sweetu’s wife does! they are in the back ground of a couple of these shots. They look spiritually indebted to Agnes Martin’s work? LOVE them. What’s her name again?

Her name is Nicole Patel—and yes, her work is beautiful! It feels a bit conceited of me to insert my pop-up right there in the middle of her work, but she and Sweetu are forgiving. And I think Nicole said she likes my display unit, so maybe I shouldn’t feel too bad.

TheDowlandShop_at_C'H'C'M_03

RO/LU – Is it just the one piece that is for sale? The socks?

The Dowland Shop is framed on a few loose concepts, but the primary idea is to sell only one product at a time, in limited quantities. I found the first product even before I had the idea for the shop. I was visiting my sister and her family (my niece and nephews) in Warsaw over the New Year’s holiday and found the socks in a department store. There’s something so dead-on in their design. I immediately bought a pair for myself and a pair for Brian. The socks are now Edition 1 of the shop.

Another principle behind The Dowland Shop is to create a quiet/loud parallel narrative that runs alongside each product that I sell. The shop is my first retail project, and the only project I’ve undertaken that requires me to play the role of designer-as-curator. It’s not a role that I’m naturally comfortable with. I prefer to design and self-produce every piece from top to bottom. So creating a parallel narrative is, in part, a way for me to stay actively engaged in the creative process.

With the socks, this quiet/loud parallel narrative is Poland’s involvement in the CIA’s program of extraordinary rendition and torture after 9/11. Presumably because they imagined that the US government would reward them for their cooperation, Polish officials allowed the CIA to operate a black site not far from Warsaw. Well, their cooperation was eventually exposed, and Poland was censured by the European Court of Human Rights and forced to pay out $262,000 to two former inmates of the secret prison. Meanwhile, neither the CIA nor any of its officials have been charged for their involvement. The point of including this narrative is to muddy the waters of consumption a bit. What extreme agreements constitute the relationship between the US and Poland, between the US and any country? What is traded, and what is the currency? I want the consumer to wonder whether or not they’re actually supposed to buy what I’m selling.

RO/LU – And finally, and this is important, who was the first collector to acquire this piece? :)

Someone with impeccable taste, obviously, but maybe also a little bit of an ego? Either way, I’m glad he was so generous in inviting me to do this interview with him!

TheDowlandShop_at_C'H'C'M_01

Thanks so much Matthew!

We’re inspired by the serious/playful, broad/refined, smart/simple, strong/humility present in his work and it gives us another lens with which to think about teaching and learning… and smiling!

In the spirit of David Reinfurt’s quote, what would anything be without everything else?

Please enjoy your time and space.

              

Jul 16, 2015

JuvetLandskapshotel

We’ve always loved the past. Especially now that it has been set free by the internet… released from the linear academic lens of time. Isn’t the past sorta culminating in the present? So, we want to linger back there again from the perspective of now. After all, everything is always changing all of the time… even the past.
I was digging through the RO/LU Blog archives and came across this project. Matt tells me this was everywhere when he first blogged about it back in 2008. So beautiful. Peaceful. Quiet. Wish I could call this home. 
Erika…

This is as close as anything i’ve seen lately to what i’d build given the chance.  wow.

It’s a hotel designed by Norwegian firm Jensen & Skodvin called Juvet Landscape Hotel.

Named for French pop / disco star Patrick Juvet, the projects main financial investor.

Perfect huh?

Via below the clouds.

Originally posted by Matt Olson Nov 2008

COME FORTH UNABASHED COME OUT UNBUTTONED BURY BELLIGERENCE RESURRECT FROLIC ONLY THROUGH BODY CAN YOU CLASP THE DIVINE ONLY THROUGH BODY CAN YOU DANCE WITH THE GOD IN EVERY MAN’S HAND THE GIFT OF COMPASSION IN EVERY MAN’S HAND THE BELOVED CONNECTION TRUST              

Jun 29, 2015

dh studio 1 dh studio 2

We’ve always loved the past. Especially now that it has been set free by the internet… released from the linear academic lens of time. Isn’t the past sorta culminating in the present? So, we want to linger back there again from the perspective of now. After all, everything is always changing all of the time… even the past. THIS WAS ORIGINALLY POSTED DECEMBER 15, 2011

We love to get photos of our furniture in action.  This is David Horvitz old studio.

deprofessionalize

Indeed.

Please enjoy the time while it is passing us by.

              

Jun 19, 2015

1836760_787600124640710_7089037278991050117_oPRETTY, PRETTY, PRETTY FANCY :)

RO/LU 4  PATRICK PARRISH at BERGDORF GOODMAN

Please enjoy the time and space.