Tom Sachs is one of the most appreciated artists in that panorama of creative minds who manage to influence several disciplines simultaneously, putting them in continuous contact with each other. Among the New York-based artist’s works is an extensive production of furniture, made in that faux-rudimentary style of his, which seems to assemble everyday elements in a spartan manner, as a child would do when dreaming of grand designs in his bedroom.
Sachs’ passion for everything related to space is well known. For the first time in 20 years, however, the artist exhibited his series of home furniture, all hand-numbered and part of an unprecedented collection.

 

 

 

 

 

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“Tom Sachs: Furniture” is on display at the Stony Islands Arts Bank in Chicago and will remain open until 4 September 2022. 
All the furniture reflects Tom Sachs’ idea that even everyday objects have artistic value, and it is precisely the gestures we make in the domestic context that elevate the artistic significance of chairs, armchairs, lights or music speakers. It is the music that plays from the pink Miu Miu branded system that makes the speakers art. 
References to pop culture could not be missing, inserted by the artist almost casually into his mixed media works. The materials range from solid wood to plywood, from aluminium to resin, diversifying the cuts, from more irregular ones to others that recover minimalism and clean, square lines. 
Discover the Love Seat, Crate Chair or the ConEd lamp on the artist’s official website.

It was in the city of Sonoma, California, that Danish artist Olafur Eliasson unveiled his latest work: a conical pavilion made up of 832 panels that reflects a kaleidoscope of colours on the Valley grounds.
The Vertical Panorama Pavilion was created together with Sebastian Behmann, with whom he founded Studio Other Space in 2014. The combination of 24 colours that make up the canopy form a structure that rises above the area’s grape crops, interrupted only by the large oculus facing north.
According to Olafur Eliasson’s design, the experience is first mental and then physical. In fact, guests who are about to taste the area’s wines can at first hear the creaking of the area’s soil, then the fragrances of the vegetation and finally the reflections of colour covering everything.

Northeast of Milan, in Crescenzago, stands the headquarters of the historic publishing house Rizzoli, a building ready to change its face thanks to a new sustainable project by Kengo Kuma Associates.
The studio founded by the Japanese archistar is ready to give Milano a green space that will house offices, coworking, a supermarket and a medical center, in an area in which more than 350 apartments are planned to be built and sold at affordable prices.
The area will have a square as its centerpiece and gathering place, surrounded by plants that will be the result of a collaboration with renowned Italian botanist Stefano Mancuso.

The project has been called “Welcome, feeling at work” and will be made of wood, a material that has always characterized Kengo Kuma’s work. The remodeled Rizzoli headquarters will form the largest bio-office in Italy, in a project that will preserve as a memory some elements of the historic building such as the staircase created by Piero Portaluppi, which will keep its place inside the building.

It was 1970 when in Lincoln County, in the Nevada desert, American artist Michael Heizer began construction of what in size is among the largest site-specific contemporary artworks ever built, occupying an area of 2×0.4km.
“City” will finally open on September 2, after half a century of work and $40 million spent on its construction. In spite of its name, the work resembles a city, or only in its alternating volumes, indentations and pathways, which inserted in the desert create a sci-fi movie ambience like Villeneuve’s “Dune” or Star Wars.
The inspiration, however, came to Michael Heizer while he was visiting Yucatan, intent on studying the pre-Columbian constructions of the Maya and Chichen Itza in particular.

Heizer fuses the concepts and forms of these prehistoric constructions with those of the modern city, such as minimalism and industrialization, using mainly rock, concrete and compacted earth.
“City” is an exploratory journey without paths, without guides and signs, but is conceived as a free space in which to feel the weight and grandeur of the work and its 5 main structures.
For the time being, entry is allowed only by reservation and to a maximum number of six visitors per day.