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      The Haas Brothers Take Their Fantastical Creatures to Shanghai in the Designs’ First Appearance in China

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      For over a decade, Niki and Simon Haas have upended the worlds of art and design with their bonkers biomorphic objects. This month, they bring their freewheeling fantasia to Gallery All in Shanghai, where the twins—who live and work in Los Angeles—are exhibiting a series of never-before-seen tapestries, mirrors, and fuzzy furniture items.
      The three-part exhibition is organized into a dream-sequence of rooms: “Theater of Fantasy,” “Looking Glass and Paths,” and “Storyteller.” The overarching aim is to transport the viewer to the strange yet serene moonlit landscape evoked by the French composer Claude Debussy, whose piano piece Clair de Lune, takes its title from the eerie, 19th-century poem by Paul Verlaine.
      Haas Brothers, Chaise Lurman. Brass, faux fur. Courtesy of Gallery All Shanghai.
      In the first room, “Theatre of Fantasy,” curator Duffy Du has created a space that is part frozen dreamscape and part snow-hotel lobby. Handcrafted objects belonging to the brothers’ ongoing “Beasts” and “Drippy Ghost” series are displayed on marshmallow-like plinths, as well as tables and stools with molten bronze limbs. An orange, horned chaise lounge titled Chaise Lurman and a purple faux-fur caterpillar with brass lips titled Bench in the Cogs stand motionless—although you get the sense that this bizarre tableau springs to life the moment your back is turned.
      Haas Brothers, Reach-able Moment L. Cast bronze, LED light. Courtesy of Gallery All Shanghai.
      Moving through, Looking Glass and Paths is a display of mirrors from the Haas’s ongoing “Zoidberg” series—a collection of lumpen bronze mirrors that look like portals to another realm and willfully blur the distinction between art and design.
      Grouped together under the title “Storyteller” is the brothers’ collection of silk and wool tapestries. A new medium for the dexterous twins, the series of childlike wall hangings depict the Californian landscape and are directly inspired by their burgeoning fascination with nostalgia and innocence.
      Haas Brothers, Cause and Reflect (detail). Cast bronze, peach mirror. Courtesy of Gallery All Shanghai.
      “I think we are honing our ability to create fantasy,” Niki said in a recent interview. “It’s definitely supposed to take you back to childhood, and it’s meant to free you from preconceived stereotypes or rules in how you interact with the world and yourself.”
      While some of the pieces in “Clair de Lune” are unique, many of the objects are editions, which will delight those keen to add to their own menagerie of Haas critters. Early patronage from the actor Tobey Maguire, and continued support from high-profile clientele, has ensured that the work of the Haas Brothers has been in demand since they first established their studio in 2010.
      Two tapestries in “Clair de Lune.” Courtesy of Gallery All Shanghai.
      In 2021, the Haas Brothers beast Biggy Stardust—a two-legged, yeti-like sculpture crafted from purple faux fur and bronze—fetched $225,000 at a charitable auction held at Christie’s in New York, nearly double its low estimate.
      Meanwhile, their ongoing collaboration with the homeware brand L’Objet provides an entry point for those at the start of their collecting career. Surely there’s space on everyone’s table for a £330 ($402) pair of brass salt and pepper shakers?
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      Brazilian Curator Adriano Pedrosa Will Helm the 2024 Venice Biennale, Making Him the First Latin American to Organize the Event

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      Organizers of the Venice Biennale have announced that Brazilian curator Adriano Pedrosa will oversee the 60th International Art Exhibition, set to be held in 2024. In a pair of firsts, Pedrosa is both the first Latin American and the first from the Southern Hemisphere to curate the event.
      In a statement released by the goliath art festival on December 15, the board followed the suggestion of its president, Roberto Cicutto, in appointing Pedrosa, who is the current artistic director of the Museu de Arte de São Paulo. The Biennale’s dates have also been agreed upon, with the sprawling city-wide event set to run from April 20 to November 24, 2024.
      “Pedrosa is an esteemed curator and director known for competence and originality,” Cicutto said in a statement, “Now more than ever, La Biennale might address contemporary art not to provide a catalog of the existing, but to give form to contradictions, dialogues, and kinships.”
      Over the past two decades, Pedrosa has become a leading figure platforming and shaping Brazil’s contemporary art scene. From his position in São Paolo, he has curated solo shows dedicated to the likes of Tarsila do Amaral, Beatriz Milhazes, Wanda Pimentel, and Ione Saldanha. He led the Pampulha art museum in Belo Horizonte during the early 2000s and has considerable experience working on large art festivals, including the Istanbul Biennial, the San Juan Triennale, and the Shanghai Biennale.
      In December this year, he received the Audrey Irmas Award for Curatorial Excellence from Bard College’s Center for Curatorial Studies in recognition for creating the “Histórias” series, which spotlights under-recognized histories of art.
      “I am honored and humbled by this prestigious appointment,” Pedrosa said in a statement. “The Biennale is certainly the most important platform for contemporary art in the world, and it is an exciting challenge and a responsibility to embark on this project. I look forward to bringing artists to Venice and realizing their projects.”
      Central to Pedrosa’s appointment was a sense of continuity with Cicutto, noting that the decision grew out of the experience of working with Cecilia Alemani in 2022. “It is essential to build on what emerged from the previous exhibition to direct our next choice,” Cicutto said.
      In 2023, the Venice Biennale of Architecture will run from May 20 to November 26.

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      A Basquiat You Can Wear: The Late Artist’s Sisters Have Tapped 9 New York City Designers to Reimagine His Art as High Fashion

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      “King Pleasure,” a sprawling exhibition at Chelsea’s Starrett-Lehigh building that centers Jean-Michel Basquiat’s life through rare artifacts from his estate, has welcomed over 160,000 visitors since opening in April.
      The show is the first organized by Basquiat’s sisters Jeanine Heriveaux and Lisane Basquiat. It features re-creations of the artist’s childhood home and his storied studio apartment—and, as of December 7, a ready-to-wear apparel and accessories collection interpreting the artist’s work, designed by nine fashion talents for the show’s Those Who Dress Better program in partnership with Black Fashion Fair.
      Fresh twists across the limited-run capsule collection are on view in “King Pleasure” through December 15, with more accessible designs available for sale in the adjacent “King Pleasure” Emporium and on Black Fashion Fair’s website.
      Hanifa for the Those Who Dress Better program. Courtesy of “King Pleasure.”
      “The driving inspiration behind the Those Who Dress Better program was the estate’s desire to support these nine emerging fashion designers, artists, designers, and entrepreneurs,” Programming Director Anthony Konigbagbe told Artnet News. “Fashion was very important to Jean-Michel.”
      Black Fashion Fair worked with the estate of Jean-Michel Basquiat to curate New York-based Black designers on the rise: Theophilo, Brandon Blackwood, Hanifa, Who Decides War, Johnny Nelson, Bed on Water, Advisry, Homage Year, and Head of State. When “King Pleasure” opened, each designer was invited to explore the exhibition, to get inspired by Basquiat’s persona, and select which artworks to interpret.
      Bed On Water, an interdisciplinary art house that also specializes in graphic design, photography, and art, envisioned the artist’s harsh lines as soft dresses, sometimes with billowing folds. Lauded by the CFDA and Beyoncé alike, Hanifa made the artist’s timeless ‘Ideal’ logo look even newer, in a slinky yet sunny yellow bodysuit that melts into gentle tangles of thick yarn. The label Johnny Nelson contorted metal and stones into rings, echoing Basquiat’s crown motif.
      Shanel Campbell from Bed On Water for the Those Who Dress Better program. Courtesy of “King Pleasure.”
      What would the artist himself wear? Konigbagbe pointed to pieces by Keith Herron’s brand Advisry, including a mask, a layered and printed “King Pleasure” long-sleeve jersey, and printed jeans featuring Charles The First (1982), considering them “worthy of Jean-Michel’s own personal style.”
      “The jersey is a nod to Jean-Michel’s famously worn Wesleyan lacrosse practice jersey from his 1981 Art/new york interview with Marc H. Miller,” Konigbagbe wrote.
      A December 7 reception celebrated the designers’ one-week stint in “King Pleasure.” The entire exhibition will complete its run on January 1, 2023.
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      ‘It’s My Damaged Rembrandt’: New Book Asserts a Downgraded Portrait of the Dutch Master Is the Real Deal

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      After a long and winding road, a painting depicting Dutch Golden Age master Rembrandt van Rijn is back on view in the Netherlands for the first time in more than five decades. The question of who actually painted Rembrandt in a Red Beret, however, remains unanswered.
      Last month, the picture went on display at the Escher in Het Paleis, a former royal palace in The Hague named for its collection of work by Dutch graphical artist M.C. Escher. Its presentation was timed to coincide with the publication of a new book, Rembrandt in a Red Beret: The Vanishings and Reappearances of a Self-Portrait, which details the surprising history of the artwork.
      The publication was commissioned by the picture’s current owner, Johann Eller. And writing it convinced the book’s author—art historian and Rembrandt expert Gary Schwartz—that the work is an autograph self portrait.
      “It was accepted unconditionally as a Rembrandt from 1823 to 1969,” he told the New York Times. “It’s a canonical image, and no one else painted those kinds of images. I simply don’t see why it would be doubted.” The painting depicts the master at around the age of 37.
      Dutch Rembrandt specialist Gary Schwartz poses next to Rembrandt in a Red Beret, either by Rembrandt van Rijn or his studio, at the Escher in Het Paleis in the Hague. (Photo by Bas Czerwinski/ANP/AFP via Getty Images).
      But as he began investigating the work’s checkered past at the behest of its current owner, Schwartz uncovered a twisting tale far more intriguing than a simple question of authorship.
      The first known record of the painting dates to 1823, when it was in the collection of King Willem II of the Netherlands. His son, Prince Hendrik, displayed it at the Het Paleis from 1850 to 1879. The canvas was inherited by Wilhelm Ernst, a German grand duke, who lent it to the Grand Ducal Museum, in Weimar, Germany, in 1909. There, it was stolen in a 1921 heist.
      It was a daring theft that involved scaling the building, climbing up a lightning rod, and entering through a window. At the time, a newspaper noted that the robbers had made off with a “world-famous self-portrait of the Dutch master, a work from his best period, painted one year later than the famous Night Watch in Amsterdam.”
      Later reports claimed that two men confessed to the burglary, but the painting was never recovered, despite a reward of 100,000 Deutsche Marks.
      From there, the trail went cold for over two decades, until 1945, when a woman named Anna Cunningham showed up at the Dayton Art Institute in Ohio and presented the painting to the museum’s director Siegfried Weng. He immediately recognized the stolen canvas—by then heavily damaged—and suspected it had been looted during World War II.
      Cunningham’s husband, a plumber named Leo Ernst, had told her a different story. He claimed that while visiting New York City in 1934, he got drunk with a group of German sailors and woke up to find three mysterious canvases in his hotel room the next morning. He said he had kept the Rembrandt in his closet ever since.
      After briefly exhibiting the picture at the Art Institute, Weng decided to turn it over to the Art Looting Investigation Unit in Washington, D.C., led by Charles Henry Sawyer, one of the Monuments Men who had worked to preserve and recover cultural heritage during the war. The government confiscated the work, and for 20 years it was housed at the National Gallery of Art in D.C.
      In 1965, President Lyndon B. Johnson decided it was high time that the U.S. returned artworks seized during the war. The government sent the portrait of Rembrandt to West Germany in 1967, with the painting eventually making its way back to an heir of Wilhelm Ernst, who sold it in 1983 to Eller. (Schwartz’s research involved combing through declassified government documents for mentions of the canvas.)
      Since a 1969 update to Abraham Bredius’s catalogue raisonné of Rembrandt’s work, Rembrandt in a Red Beret has been attributed to the Dutch master’s pupil Ferdinand Bol, or dismissed as the work of the artist’s studio—or even as a later copy.
      Schwartz believes that the poor condition of the work is negatively influencing experts’ opinions about the piece, which is now being shown publicly for the first time in 55 years.
      “It’s my damaged Rembrandt,” he said. “Because there’s so much missing and it has been painted over, it makes the wrong impression when you see it for the first time.”
      Should scholars come to agree with Schwartz’s assertion that it is a Rembrandt, its value would skyrocket.
      “Rembrandt Back in The Hague” is on view at the Escher in Het Paleis, Lange Voorhout 74, 2514 EH The Haag, Netherlands, until January 29, 2023.
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      An Artist Has Transformed an Abandoned Las Vegas Gas Station Into a Neon Oasis in the Desert

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      Revelers escaping regular life in Las Vegas still can’t fill their tank at the abandoned gas station on Fremont Street, but its sight alone will transport them. Digital artist Abigail Dougherty, better known by her art name Neon Saltwater, recently re-envisioned the 1930s relic, traveling from Seattle to Sin City this September to complete her ten-day install just in time for the city’s annual Life Is Beautiful Festival.
      The revamp came at the request of local creative firm JustKids, which has handled the festival’s art curation since 2013. “I have always seen this structure abandoned,” JustKids director Charlotte Dutoit told Artnet News. “Previously it was a gas station, then a repair shop, and even a taco drive-through.”
      Now, it’s a technicolor portal to simpler times titled Mystery Cruise 1990, in reference to Neon Saltwater’s birth year and “a feeling of surrendering and trusting the beautiful unplanned experiences that are around the corner,” the artist told JustKids. Authentic neon gleams from the overhang that once shielded gas pumps. Dougherty’s stage name crowns a single column painted atop the multicolored gradient that wraps the building proper.
      A digital work by Neon Saltwater. Courtesy of JustKids.
      The structure’s actual owner wasn’t involved, which meant the artist couldn’t set up a psychedelic minimart inside. Instead, magenta lights at once sensual and ominous illuminate the silhouettes of tropical plants against appropriately fogged windows.
      If you’re still curious what’s inside, look no further than Neon Saltwater’s digital oeuvre. The artist, who’s also created IRL pop-ups for Barneys and hairclips for cult company Chunks, discovered 3D modeling while studying interior design. “I was too much of a designer to be a traditional artist and too much of an artist to be a traditional interior designer,” she told JustKids. “I always loved rooms and would rearrange my furniture as a kid by myself.”
      Thus, most know Neon Saltwater for her digital scenes of ATM machines, malls, and offices rendered in neon tones—and entirely bereft of people. “The energy that exists in spaces feels spiritual to me and is my biggest muse,” she has remarked. Mystery Cruise 1990 marks her first time working with real neon.
      Neon Saltwater, Mystery Cruise 1990. Courtesy of JustKids.
      “In an era where many artists go from the physical to the digital space, we thought it would be interesting to actually export Neon Saltwater’s cyber wonders into a non-virtual art experience,” Dutoit said in a statement.
      “I see Mystery Cruise 1990 as a nostalgic reinterpretation by the artist of the vintage neon pieces and tourist extravaganzas still visible in the old Vegas, but with new energy,” she told Artnet News. “I hope this artwork will spark curiosity and slow down the passerby, inviting them to escape for a moment in a weird glowing time travel.”
      The portal is on view indefinitely. Don’t miss it the next time you’re on the lam from reality.
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      The Career of Willy Guhl, Creator of the Iconic ‘Shell Seat,’ Gets Another Look With an Exhibition in Zürich

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      Famous for concepts like Shell Seat and Loop Rocking Chair, among other furnishings, luminaires, and accessories, the late Willy Guhl was a strong proponent of simplicity—what for many is a hallmark of Swiss design. The prolific talent was known for saying design must “achieve the most with the minimum effort.”
      And yet the task of perfecting a unified shape that is as aesthetically pleasing as it is functional, or engineering the armature of a chair so that it uses as few connections as possible, is no small feat. Works like Flower Box (1954) or his circulatory bathtub design of 1956 are emblematic of this enduring philosophy. The comprehensive “Willy Guhl — Thinking with Your Hands” show currently on view at the Museum für Gestaltung in Zürich seeks to uncover what made this 20th-century master tick. 
      Willy Guhl’s Circulatory Bathtub compared with conventional bathtubs (1956). Illustration: Willy Bärtschi, courtesy of Museum für Gestaltung Zurich, © Heirs of Willy Guhl.
      Possessing an appreciation for rationalism, as well as an inherent understanding of people’s needs, Guhl (1915-2004) was a pioneer of ergonomics, accessibility, and durability. The designer was an early proponent of hands-on learning and experimentation. The idea that to truly comprehend a problem, or gain implicit skills, one has to physically engage with the material and form of a potential solution, and not rely on a drawing board. As an instructor at the Zürich School of Art and Craft, Guhl required his students to make physical models and work directly with craftspeople, an approach that has again become a virtue in the industry, and perhaps its saving grace.
      The designer was one of the first to develop flat-pack furniture during and soon after World War II. These affordable, easily transportable designs were instrumental in helping to rebuild war-torn Europe, especially when materials were scarce. Throughout the 20th century, Guhl adapted to changing movements and rapidly advancing technologies yet always held true to his fundamentals. 
      Willy Guhl, Garden Chair (1954). Photo: U. Romito and I. Šuta, courtesy of Museum für Gestaltung Zurich, © Heirs of Willy Guhl.
      The exhibition—on view from December 19, 2022, through March 28, 2023—delves deep into extensive archival research conducted by the Swiss National Science Foundation, along with a slew of original designs, drawings, maquettes, and photographs from Guhl’s estate. Part of the showcase, a 1985 film includes testimonials from former students—such as Robert Haussmann, Carmen Greutmann, and Alois Rasser—who went on to establish their own successful practices. Immersive displays conceived by design students from the University of Art and Design in Lausanne provide further insight into his creative process. Visitors can even experience Guhl’s iconic Shell Seat for themselves.
      Willy Guhl on a Bench Chair (ca. 1960). Photo: Bill W. Guhl, courtesy of Museum für Gestaltung Zurich, © Heirs of Willy Guhl.
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      Furniture Works by Jorge Zalszupin, Master of Brazilian Modern Architecture, Go on View at Sean Kelly Los Angeles

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      The current exhibition “Zalszupin 100” at Sean Kelly Gallery in Los Angeles celebrates the furniture works of late Polish-Brazilian designer Jorge Zalszupin on what would have been his centenary on earth. A pioneer of Brazilian modernism, Zalszupin died in 2020, two years before turning 100.
      Many of Zalszupin’s pieces on display have been procured from private collections. Over the last two years, the gallery painstakingly sourced the custom furniture he made for offices and homes across Brazil between the late 1950s and early ’70s. Some pieces belonged to Zalszupin’s loved ones, like the Ina armchair, which he made for (and named after) his sister. 
      Zalszupin worked as both a furniture designer and an architect, ran one of the largest furniture factories in Brazil, and in his later years explored painting. His oeuvre is connected by his use of sensuous lines, a modernist sensibility, and an affinity for working with nontraditional materials and woods native to Brazil. His work contains references to both global design trends and his own experiences, such as Tea Trolley, a bar cart inspired by the baby strollers he saw growing up in Poland. 
      Jorge Zalszupin, Tea Trolley (ca. 1960s). Brazilian jacaranda, rosewood, metal. Courtesy of Sean Kelly Gallery.
      Jorge Zalszupin was born in Warsaw, Poland, in 1922. In 1949, he made his way to Brazil, where he fell in love with the landscape and the architecture, and lived the rest of his life, becoming one of the definitive designers of Brazilian modernism.
      His foray into furniture design began soon after he launched his architecture practice in Brazil in 1951. Clients began requesting pieces to match the aesthetic of their buildings and Zalszupin was ready to meet their demand. In 1959, he created his first work of furniture—Poltrona Dinamarquesa, or Danish Chair. The seat’s curved wood frame and modern Scandinavian sensibility set the tone for Zalszupin’s prolific career. That same year he founded the L’Atelier, a carpentry firm that grew into one of Brazil’s largest furniture manufacturers.
      Installation view, “Zalszupin 100.” Photo: Brica Wilcox, courtesy of Sean Kelly Gallery.
      Zalszupin thought creatively about materials and techniques. Early on he developed a signature patchwork rosewood pattern that allowed him to use leftovers from other productions. He would cover the surface of a piece of furniture with rectangular scraps of rosewood in various shades and patterns.
      While Zalszupin is known for his use of native Brazilian woods like jacaranda, rosewood, and ironwood, he also researched and experimented with new machinery and technologies throughout his career, including his plastic laminate series. His innovative use of materials paved the way for the modernism movement that characterized Brazilian design in the decades to come.
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      A Second Group of Ukrainian Artworks Have Been Rescued From the War-Torn Country and Put on View in Switzerland

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      More artworks recently rescued from war-torn Ukraine are going on public view—this time in Switzerland in two exhibitions being staged concurrently. The shows, which feature works from Kyiv National Art Gallery, serve both to introduce the country’s art and cultural heritage to a different audience and act as a temporary shelter to protect the works from being destroyed or stolen as the war rages on.
      “Born in Ukraine,” which opened at the Kunstmuseum Basel on Tuesday and runs through April 30, includes 49 masterpieces made by 31 Ukrainian artists between the 18th and 20th centuries. While “From Dusk to Dawn” at the Musée Rath in Geneva, features 50 works selected for their nocturnal themes. Organized by the Musée d’Art et d’Histoire, the show is due to run through April 23.
      The opening of these exhibitions follows a recent rescue mission in which 51 Ukrainian avant-garde artworks from the National Art Museum of Ukraine and the Museum of Theater, Music, and Cinema of Ukraine were transported out of the country in a secret convoy on November 15—just hours before the bombing of Kyiv. Following their narrow escape, the works made their way to Spain, where they are now on show at Madrid’s Museo Nacional Thyssen-Bornemisza in the exhibition, “In the Eye of the Storm: Modernism in Ukraine, 1900–30.”
      In the case of the Kyiv National Art Gallery, the plan to move the masterpieces out of Ukraine began during the first months of the war, according to the Kyiv museum’s director, Iurii Vakulenko. Staff began contacting colleagues in Switzerland after the museum’s building was damaged during a rocket attack on central Kyiv.
      It took several months to identify suitable museum partners, negotiate the details, and organize the journey. “In November 2022, the paintings were transported in a secret operation using special transport vehicles with a reinforced convoy to the border with the E.U., and then to Switzerland,” Vakulenko told Artnet News.
      Constant shelling of the country’s infrastructure and potential blackouts meant the team faced the risk of delayed evacuations should the border crossing control system shut down, he said. “For two days, the paintings traveled through one of the most dangerous parts of Ukraine,” he added.
      “We were very worried about the safety of the collection [during] transportation because there was constant shelling. Now, of course, we’re happy that part of the collection is currently safe and has found its temporary home here in Switzerland,” Vakulenko said.
      The paintings arrived in Basel on November 25, according to the  Kunstmuseum Basel, and will remain in the museum until the show ends, and possibly in the institution’s storage after that. The details, however, have not been finalized.
      As of November 7, more than 70,000 Ukrainians have fled to Switzerland and applied for refugee status, according to Swiss authorities.
      Here are a few highlights from the exhibitions.
      “Born in Ukraine,” at the Kunstmuseum Basel, until 30 April 2023
      Mykola Kuznetsov, Gemüse (1888). Image courtesy of Kyiv National Art Gallery. (Photo: Julian Salinas)
      Zinayida Serebryakova, Selbstbildnis (1923–24). Image courtesy of Kyiv National Art Gallery.

      Lev Lagorio, Seelanschaft (1886). Image courtesy of Kyiv National Art Gallery. (Photo: Julian Salinas)
      Archip Kuindschi, Der Abend (1885–90). Image courtesy of Kyiv National Art Gallery.
      Illia Repin, Ukrainisches Haus (1880). Image courtesy of Kyiv National Art Gallery.
      Illia Repin, Studie für Golgotha (1896). Image courtesy of Kyiv National Art Gallery. (Photo: Julian Salinas)
      Illia Repin’s Junge Frauen spazieren inmitten einer Kuhherde (1896), left, and Bildnis des Dichters Serhij Horodetsky mit seiner Frau Hanna Horodestka, geb. Kozelska (1914), right. Image courtesy of Kyiv National Art Gallery. (Photo: Julian Salinas)

      “From Dusk to Dawn” at Musée Rath, organized by the Musée d’Art et d’Histoire in Geneva, until April 23, 2023

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