On View

Park Avenue Armory has housed many masterpieces and Euphoria (not related to the drug-fueled HBO hit) is one of them. The feature-length film by artist Julian Rosefeldt, which opened November 2022, is a cinematic feat confronting global consumerism, class, privilege, and the failures of contemporary society.
The work encompasses five theatrical vignettes, the first featuring actor Giancarlo Esposito (who many will recognize from Breaking Bad) as a cabdriver waxing poetic to a mostly non-responsive passenger on their way to the Brooklyn Navy Yard. While the scenes that follow feel very “New York,” they also encapsulate a world that merges parts of the city with fantasy in the vein of Terry Gilliam’s 12 Monkeys.
Julian Rosefeldt’s Euphoria at Park Avenue Armory, 2022. Photo: Nicholas Knight. Courtesy of Park Avenue Armory.
Shown on 24 screens in the round, the installation has three components: the feature film, a 360-degree perspective of the Brooklyn Youth Chorus shown to scale and in “real time,” and five additional screens, each containing a drummer. The drummers accompany the Brooklyn Youth Chorus whose voices fill the hall in harmony with music composed by Samy Moussa. The result is as jarring as it is soothing.
Looping throughout the duration of the exhibition, Euphoria is a commentary on the institution and neighborhood where it is housed, not stated but implied as the topic of wealth and class run throughout. The film is an enigma of sorts, a high-budget tour de force utilizing Shakespearean-style soliloquies and didactics. At one point, as Esposito’s passenger (also played by Esposito himself) walks away from the cab, he murmurs, “Remember: We are but dust and shadow,” quoting Roman poet Horace.
Film still from Euphoria, 2022. © Julian Rosefeldt.
Rosefeldt is the mastermind behind the screenplay, but is quick to not take credit.
“The credit for the writing doesn’t go to me, but to the more than 100 writers that contributed texts which were assembled into the text collages in Euphoria,” he said. “Creating a project on a topic as general as greed or capitalism is obviously ambitious, if not presumptuous, and the sheer amount of sources to be considered and books to be read was a bottomless pit.”
The chosen texts come from such notables as Ayn Rand, Plato, Aldous Huxley, Jean-Paul Sartre, Barack Obama, the Rolling Stones (from the band’s “You Can’t Always Get What You Want”), and even Snoop Dogg (from “Gin and Juice”). All of these texts are expertly woven together in correlation with cinematography to create something entirely new.
The result is uncanny, as certain phrases are recognizable but completely removed from any familiar context. Rosefeldt works within his own container, inventing a world untethered to time or self-consciousness.
Julian Rosefeldt’s Euphoria at Park Avenue Armory, 2022. Photo: Nicholas Knight. Courtesy of Park Avenue Armory.
“What helped structuring the text fragments once they were selected was that they needed to be speakable and performable in a convincing manner following a stream-of-thought,” added Rosefeldt, “which makes the viewer forget that these texts originate in various epochs within 2,000 years of cultural history.”
Euphoria echoes the desperation felt by Willy Loman from Arthur Miller’s Death of a Salesman, the seamless visual weaving of The Clock (2010) by Christian Marclay, and a series of live performances at Matthew Barney’s studio several years ago.
Rosefeldt made a splash in 2015 when his video installation, Manifesto, starring Cate Blanchett, was screened at Park Avenue Armory (it has since been adapted into a feature film). On the two works, he added, “Comparable to the characters in Manifesto, the actors in Euphoria are more like vessels for universal ideas than real-shaped characters.”
Euphoria is on view at Park Avenue Armory through January 8, 2023.
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An immersive sculptural installation at the Momentary in Arkansas will offer visitors an unusual opportunity: to travel through time and space. The expansive work by Firelei Báez reimagines the ruins of Sans-Souci Palace in Haiti as though they were emerging out of the Atlantic Ocean, with the vastness of the sky and seas evoked by hanging blue tarps and a mural. The work is not only visually stunning, but explores the history of cultural exchanges between Europe, Africa, and the Americas.
In an April 2021 conversation with Art21, Báez likewise addressed the colonial history of the Caribbean, but this time on the more manageable scale of the canvas, opening up about her experiences growing up in the Dominican Republic and her extensive interest in the region’s past and rich folklore.
“I remember always making,” she said of her childhood. “When I was six, other kids would have me draw out these very fancy ‘mariquitas’ [paper dolls] for them. I would have these elaborate ball gowns. They would always have very intricate hair. I was always dealing with the body.”
“One of the first reasons that I wanted to work on these paintings,” she said, referring to a series of botanical-based canvases she was filmed working on, “was looking at some of the first scientific illustrations of flora and fauna from the New World.” In particular, she referenced the scientific methods of Swedish botanist Carl Linnaeus: “So much of his work was sheer nonsense. It equated the New World Black and brown body with bestiality.”
Instead, Báez found inspiration in the misunderstood female creature Ciguapa, found in Dominican mythology. “The Ciguapa is this trickster figure. She is a seductress. Someone will be lured by her and then be completely lost and never seen again,” she said. “In reading my paintings of Ciguapas, I’m asking the viewer to come to terms with their own feelings around a woman’s body.”
“The normative tone of the story is these are wanton female creatures. They’re hypersexual and they derail culture. The understory is they are highly independent, they’re self-possessed, and they feel deeply,” she said of her preferred interpretation. “So who wouldn’t want to be that?”
In reframing such narratives, Báez continues to uncover new ways to “shift ideas of power.” “In that process, you shift the world around you,” she added. “That’s where beauty can be subversive.”
Watch the video, which originally appeared as part of Art21’s series New York Close Up below. “Firelei Báez” is going on view through July 16, 2023 at the Momentary in Arkansas. 

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This is an installment of “Art on Video,” a collaboration between Artnet News and Art21 that brings you clips of news-making artists. A new season of the nonprofit Art21’s flagship series Art in the Twenty-First Century is available now on PBS. Catch all episodes of other series, like New York Close Up and Extended Play, and learn about the organization’s educational programs at Art21.org.
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Twenty-five items form the colorful, tactile, and often humorous work of 14 women designers, both known and obscure, in the “Born Too Tall: California Women Designers, Postwar to Postmodern” exhibition at R & Company in Tribeca, New York.
“Southern California was a hotbed of creativity,” said Evan Snyderman, co-owner of R & Company and co-curator of the show with James Zemaitis, the company’s Director of Museum Relations. “And we thought, why not focus on unsung heroes—in particular the women who are often left out of the conversation, and are not in history books—and give them the credit they are due?”
Wendy Maruyama, Mickey Mackintosh. Photo: Joe Kramm, courtesy of R & Company.
The show sheds overdue light on novel approaches by women experimenting with traditional processes and materials. A curved plywood sculpture by Ray Eames—newly reissued in a limited edition—is instantly recognizable, while animal-shaped furniture by Pamela Weir-Quiton comes as more of a delightful discovery. While still in college, Wendy Maruyama used then-verboten particle board, instead of wood, and car paint to create her Mickey Mackintosh chair (1981), which is today recognized as one of the earliest and most iconic examples of postmodern furniture. Arlene Fisch, in the early 1980s, incorporated sewing techniques to create unique pieces of gold and silver jewelry.
Arline Fisch, Floating Square brooch and bracelet. Courtesy of R & Company.
“This is something we have been championing for 25 years as a gallery, and is now finding its place in the contemporary design and art world,” said Snyderman. “We see this coming together of all these practices, and hierarchies breaking down between fine art, craft, sculpture, and design.”
The title of the show comes from a chapter title in Fifth Chinese Daughter, a bestselling memoir by Jade Snow Wong, whose pottery is featured in the exhibition. It refers to the writer’s dim marriage prospects but also typifies the “biology is destiny” trope that hampered the careers of so many female artists.
Pamela Weir-Quiton, unicorn rocker and moose rocker. Photo: Tiffany Smith Studio, courtesy of R & Company.
Some of the participants in the show had felt held back because they were doing something new. “There were no galleries around for me,” said Pamela Weir-Quiton, who, conversely, didn’t lack for commissions in her frenzy of creation fresh out of college (where she was the lone woman woodworker). It took close to a half century for a museum—in this case, LACMA, in 2019—to come around to acquiring one of her pieces, which is also featured in “Born Too Tall,” the figurative Georgie girl dresser and chair in a mix of walnut, birch and ebony. “My stuff never fit in to the brown woodworking of the ’60s,” said Weir-Quiton. “It was animated. It had eyes. It connects with you.”
California being a state larger than many countries, the geographic peg of the show doesn’t conjure any visual through-line. There’s a boho earthiness to some of the pottery and textile pieces from the 1970s, countered by the lyric midcentury elegance of Greta Magnusson Grossman’s double cone lamp of the late 1940s. Some artists acknowledge inspiration from the sunlight, openness, diversity, and “energy” of the West Coast. More than half of the artists are not from the state, but worked, studied, or taught there, and remain associated with it.
Cheryl R. Riley, Brush Strokes Cigarette Table 1 (Gold). Courtesy of R & Company.
“I love the brightness, the light there,” said Cheryl R. Riley, a Texas native who lived and worked for two decades in San Francisco before settling on the East Coast. She has two cigarette tables in the show (a throwback to the time when a diminutive piece of furniture was designated for that activity). They easily double as stand-alone sculptures. She likens the medium to a sketch pad, or accessories, saying that their small size and low material cost allow for endless experimentation with shapes, colors, and finishes. “California is gold country, with the gold rushes, and there’s also the silver, with the Mexican culture.” She added, “I don’t have a fear of bling.”
The show, on view through January 27, 2023, at 64 White Street, also features work by Evelyn Ackerman, Claire Falkenstein, Trude Guermonprez, Merry Renk, June Schwarcz, Kay Sekimachi, and Marguerite Wildenhain.
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“When designing the Oblong collection, the goal was to match the simplistic, bulky, and rounded forms with striking materials,” said Sanayi313 co-founder Enis Karavil. Imperfectly shaped stools, consoles, coffee, side, and dining tables comprise the collection stemming from an intelligent use of knotted mazel and burl wood. Crafted by carpenters using thousand-year-old techniques specific to Istanbul, the pieces are available through New York gallery Love House.
Burl wood was popular in the Art Deco and Hollywood Regency movements of the 1920s and ’30s and again in the 1970s. Collected for its luxurious appearance, heavy weight, and aesthetic moodiness, the intricately knotted wood is again seeing a resurgence today as it crops up in architectural fit-outs and furniture designs.
Stools from the Oblong collection. Courtesy of Sanayi313 studio.
Sanayi313 got its start in fashion but now develops everything from interiors to home accessories. With residential design as its main market, the firm operates out of the rapidly transforming, post-industrial Ataturk Oto Sanayi Sitesi district in Istanbul. Within this dramatic setting, the firm is focusing more and more on creating contemporary high-craft pieces in rich woods that hark back to European and Middle Eastern antiques—a vast collection Enis has amassed over the years.
Though unmistakably bold in appearance, Sanayi313‘s Oblong collection is intended for a myriad of interiors. The new pieces—unified by a formal vocabulary of monumental planes, neotenic details, and bowed edges—are as much a celebration of contemporary sculptural design as they are an ode to Istanbul, a city of contrasts. For Karavil and his brother Amir, Oblong is a chance to demonstrate their ‘maximalist expression in minimalist form’ ethos.
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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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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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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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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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