A special kind of fair of design
The rainbow-colored geometric creations of the painter Peter Shire frequently sell for more than an average car’s value. But he also makes chunky, colorfully glazed mugs for under $100 at Echo Park Pottery, his ceramics workshop in Los Angeles. Next month, pieces from both parts of Shire’s practice will be on sale in New York at the new Object & Thing design fair, whose founder. Abby Bangser, former artistic director of the Frieze art fairs, hopes “break down the hierarchy between art and design objects by displaying everything together in equal measure.” The event will be held at the 99 Scott location in Brooklyn from May 3 to May 5, featuring over 200 objects, consigned by 32 top-tier international galleries and created by several artist-designers and designer-artists. There will be shaggy silk-adorned seats by American designer Lucy Dodd, NASA-inspired containers by artist Tom Sachs, Navajo artists ‘ kachina dolls from the Shiprock Santa Fe gallery, and Brazilian artist Sonia Gomes ‘ textile sculptures.
Forgetting the conventional booth model, in which each gallery finances and curates its small exhibition, the fair will instead involve groupings of works designed to evoke the unusual mixture of items real homes. “Significant booth fees mean you need to bring highly-priced pieces, but you don’t need to get a lot of design at those prices,” Bangser explains. The artistic director of the fair, the designer Rafael de Cárdenas, has thematically arranged the works on clusters of plinths made of reusable building material. Cardboard tubes, glass, and steel — an area he calls “the ideal home,” living space with Martino Gamper console, Marc Hundley bench, Peter Shire shelves.
To make fair as accessible as possible, Bangser also invited nine design boutiques, including Primary Essentials and Playmountain East, to set up space shops and directly sell their goods, many priced under $100. While hoping that Object & Thing will inspire a new approach to engaging with objects of art and design, she did not want to lose what she describes as a traditional fair’s “energy and community gathering aspect.” To that end, a series of public panel discussions— moderated by the author and curator Glenn Adamson — will be held while the restaurateur Andrew Tarlow will provide food in the garden of the site. Daylight, the latest cafe of 99 Scott selling organic wines and food, will be available to the event in particular. 99 Hamilton, New York— ALICE NEWELL-HANSON from May 3 to May 5.
Dance Music for the Future by Stephen Malkmus
Stephen Malkmus’s most significant musical breakthrough came by unplugging his guitar — and flipping on his laptop — during the two and a half years he lived in Berlin. Previously, the former Pavement frontman released the down and dirty electronic album “Groove Denied,” which his longtime label, Matador, initially rejected in favor of the rock-focused (and very good) 2018 album “Sparkle Strong.” A remarkably organic transition to more progressive dance music, “Groove Denied,” incorporates post-punk drums and electronica beats with the indie rock sound Malkmus has been perfecting for the last 30 or so years. He said he was “not out there to bum-rush the music scene,” pointing to his outsider status in Berlin, speaking to T about the album. But as he dipped a toe into the storied dance club and party scene in the area, he remembered, “People were just doing their own thing — playing laptops fusion music,” and asked himself, “What would it feel like if I messed up with it?”
Previously, Malkmus contributed the original song “Airplane Air” to T’s Culture issue — for which musicians created original works that envision America in 2024. An exciting, fractured track that occupies the same musical environment as “Groove Denied” and described it as “how I think your brain feels like anti-depressants falling out.” Though political songs are not standard fare in his catalog, his two last albums contain tracks that discuss race, social, and political problems to varying degrees, such as “Sea of Revenge” on “Groove Denied.” Asked if he has an obligation for his music to address the tensions of our world, he said, “I guess you have to deal with the personal, the political, and how it affects. I like to confuse it lyrically and not always know what things mean. But it must be real.”-DANIEL WAGNER
Quilts the speech
If I’ve learned anything from working at T Magazine, it’s because we love a quilt. Their beauty — the simplicity and plain geometry of working within a quadrilateral figure — evokes ideas like community, sisterhood, and craft. Beginning on April 25, the French label A.P.C. will launch a new series of music-inspired quilts crafted by its longtime collaborator Jessica Ogden (who made an early name for herself to repurpose antique quilts into apparel and started the first quilts range of the company in 2010 with creator Jean Touitou). The quilts are a nod to some of the greatest composers of the Western Canon—Chopin, Bach—with names like “Prelude in E” or “Fugue in C.” Cushions also gave names that were usually meant to indicate instructions on a score (“crescendo” or “Andante”). Born in Jamaica, Ogden asked French photographer Alfredo Piola to film the quilts and cushions at the Blue Mountain Peak in the region. There’s something about the vibrancy of the diagonal lines of the quilt and cushions that reminds me to read a score, so musical notes will jump or fly across the paper. Mozart once said that music should always “flatter and adore,” and I suspect that Ogden might have taken to heart these instructions. APC-US.com — LA FORCE THESSALY.