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Photography by Andrea Artemisio

Styling by Carolina Prada Bianchi

Model Izabella Bielawska

From the latest issue of LURVE.


Photography by Anders Edström

Styling by Moreno Galatà

Model Emma Willow

From the latest issue of LURVE.

Paul mccarthy: ws sc


Hauser & Wirth London


Paul McCarthy, one of the most provocative and influential voices in multimedia, sculpture and performance art, unveils new paintings in his first exhibition devoted to the medium since the 1980s. McCarthy’s paintings represent the latest iteration of two major ongoing projects within his multidisciplinary practice: White Snow and Stagecoach. In both series, archetypal American narratives are pitched against human drives and desires, and examined with McCarthy’s characteristic wit and subversion. Informed by his own tradition of improvised performance, scatological performative practices are played out on the canvas in a charged, gestural painting style motivated by material experimentation and psychological processes.

The White Snow project began as a suite of drawings in 2009, which drew on the fairytale Snow White and explored the multilayered references within the original German folk story and its commercialised 20th century versions. The series has since evolved into a multi-platform narrative of McCarthy’s own making, incorporating sculpture, performance and the epic installation ‘WS’, presented at the Park Avenue Armory, New York in 2013. In the WS paintings, McCarthy restages moments from his ‘WS’ performance and invents new scenarios entirely, recasting familiar characters in unfamiliar guises.

McCarthy combines his two central motifs with the language of painting as subject matter in itself, invoking the art historical canon as a framework for his narratives; in two paintings, McCarthy reworks the formal compositions of Edouard Manet’s ‘Le déjeuner sur l’herbe’ (1863) and ‘Olympia’ (1863). White Snow, usually a paragon of feminine virtue, is depicted as a garishly made-up, despoiled protagonist. In ‘WS, Dior’, McCarthy casts White Snow as Manet’s Olympia, but here she is an assertive figure aware of her seductive power as she regards a moustachioed character resembling Walt Disney in the foreground. Walt Disney continuously reappears as a character within McCarthy’s WS series as the pathetic and semi-autobiographical figure Walt Paul. Formally figured as Michaelangelo’s ‘Pietà’ (1498 – 1499), McCarthy creates a caricature of Christ in the arms of the Virgin Mary in the painting ‘WS, Christies’, where the central characters are replaced by farcical renderings of Walt Paul and White Snow and the gender roles are reversed.

Stagecoach is McCarthy’s second long-term project, based on the film of the same name, a 1939 American Western starring John Wayne. The movie follows a group of strangers travelling across the United States in a stagecoach pursued by Apache Indians. Here, McCarthy uses the Western as a recognisable structure from which to form alternative interpretations; the SC works focus on social interaction between the genders and ‘saloon girls’ reappear as central characters. A repeated castration theme is conveyed through textual references scrawled across the paintings like a mantra: ‘CUT OFF THE HEAD / CUT OFF THE PENIS’.

The Western genre is central to American masculine identity, and here McCarthy restructures reality using Hollywood’s tactics. He alludes to classic icons of martyrdom whilst exploiting film stars as characters in a sexual vaudeville. ‘SC, Leonardo DiCaprio’ can be read as a profane version of St. Sebastian, as the composition centres around a figure with hands tied symbolically behind its head and with legs spread wide. McCarthy employs a wealth of art historical references to render his figures as powerless and impotent; even the horse, conventionally deployed as a symbol for military prowess, is represented here limp and pink, barely capable of supporting his charge. Together, the SC paintings function as unscripted storyboards in which McCarthy reverberates between the central Stagecoach motif and male icons of the film industry in a series of sexual dreamscapes which form a starting point for a future Stagecoach performance and film.

McCarthy employs collage throughout these paintings, uniting a host of seemingly unconnected reference material such as ripped fragments of high-fashion magazines, images sourced from the Internet and three-dimensional objects including synthetic wigs, a pair of boots, a coffee table and soft toys that are wedged forcefully through the surface of his paintings. Within these works, McCarthy expertly weaves the history of painting with contemporary motifs in dramatic scenes that expose latent desire and exploit the uncomfortable space where childhood innocence meets adult knowledge.Exhibited alongside his paintings, a room of Hauser & Wirth’s Savile Row gallery is devoted to new drawings related to both White Snow and Stagecoach.


For more information visit:

Pierre HuyGhe: in.border.deep


Hauser & Wirth London


Hauser & Wirth is excited to announce Pierre Huyghe’s inaugural exhibition with the gallery. Huyghe works across media to create situations, cutting through time and boundaries, highlighting concepts of separation. ‘IN. BORDER. DEEP’ features all new work including film, site-specific sculpture, and a series of aquariums. Viewed as a whole, the exhibition reveals a chronology which spans 30 million years until the present day.

The starting point in the exhibition’s overarching chronology is a film in which Huyghe uses macro- and micro-scopic cameras to record insects encased in amber. It is a navigation through stone, in search of the earliest known specimen caught mid-copulation 30 millions years ago. The audio of Huyghe’s motion control camera whirring has been retained and heightened, a soundtrack that recalls the sensation of a mechanical shuttle. In these consecutive frames Huyghe explores an instant frozen in time.

A primitive stone tool lies in sedimentation on the gallery floor, marking the origin of man and the development of rudimentary engineering. For the site-specific work ‘The Clearing’, situated on the gallery’s far wall, Huyghe has mechanically sanded down layers of paint from the wall’s surface to reveal expanses of colour that had previously been covered over. Huyghe’s interest extends beyond the line and colour created by ‘The Clearing’ and into the geological formation of the wall; the limestone in the resulting deposit refers back to the particles that emerge from human remains. Huyghe explores the wall as a living artefact, and highlights the perpetual transformation of the gallery as a sphere.

Three aquariums placed in the gallery contain biotopes transplanted from Monet’s ponds in Giverny, the geo-engineered site made in 1893 and the subject matter of his ‘Nymphéas’ paintings. The water lilies floating on the surface of Huyghe’s ponds can be viewed constantly. The sides of the aquariums are encased in switchable glass that conceals their contents, then randomly exposes the living organisms that lie under the surface of the painted subject. Unlike Huyghe’s previous aquariums, the focus of these pieces is the sunken man-made objects that have been modified over time by natural elements. The lighting sequence for the aquariums is programmed according to a fast-paced rendering of the variations in weather conditions as recorded at Giverny between 1914 and 1918, when Monet painted the ‘Nymphéas’, now situated in the Musée de l’Orangerie. The sequence for each aquarium spans a specific, symbolic length of time: the shortest day of the year in 1914, the autumn of 1917 and the entire four-year period.

Upon entering the gallery space, the viewer encounters a reclining figure, a concrete cast of part of a monument originally created for an exhibition in 1931. In its current state, the sculpture is headless and overgrown with moss. It contains an internal heating device that roughly mirrors the human circulatory system, encouraging the growth of vegetation. The viewer is able to sense a body temperature emanating from the sculpture’s surface.

The ‘Human Mask’ film is inspired by a real situation in Japan, in which a monkey – wearing the mask of a young woman – has been trained to work as a waitress. The film opens with footage of the deserted site of Fukushima in 2011, the camera functioning as a drone scaling the wreckage. This is followed by scenes of the monkey alone in her habitat, silhouetted against the empty, dark restaurant. In this dystopian setting, an animal acts out the human condition, trapped, endlessly repeating her unconscious role.


For more information visit:

Andro wekua: Some pheasants in singularity


Sprüth Magers London


For his first exhibition with Sprüth Magers, Andro Wekua will transform the London gallery by installing a wall constructed of rough breeze blocks, partially obscuring the view into the space through the large bay window. While from the exterior the blocks will be untreated and exposed, the interior side of the wall will have a smooth white surface as if to disguise it from within, allowing the wall to blend seamlessly into the interior space. Within the gallery, Wekua will suspend from the ceiling a life-sized sculpture of an androgynous adolescent.

Known for his uncanny evocations of architecture and memory through exhibitions that imply a non-linear narrative, Wekua here creates a psychologically charged interior. A figure, at once robotic and lifelike, is isolated in a clean gallery space, behind a forbidding block wall that restricts the view to the outside world. The device from which the figure hangs suggests a playground swing, yet he or she hangs in a physically impossible position. Wekua poses questions about interior and exterior, private and public space, performance and imprisonment, revelling in an ambiguity that serves to provoke the viewer’s imagination.

The exhibition will also feature a group of paintings that combine portraiture, abstraction and figuration. Whether the characters in the paintings relate to the sculpture is unclear, and Wekua invites us to make our own connections through his work. 


For more information visit:



The Victoria & Albert Museum


Want to see some of the most impressive and famous wedding dresses? Then make sure you head to the V&A now or before March 2015. With individual styles of the wedding dress created by designers such as Vera Wang, Charles Fredrick Worth, Gareth Pugh and John Galliano. 


There is a wedding dress for every woman, whether it’s Margaret Whigham, Harriet Joyce, Kate Moss, Katie Shillingford or the Duchess of Cambridge. Women with particular taste. Silk, gold, purple, silver, white, hat or veil, Dolce & Gabbana or Chanel shoes. What’s more interesting is what’s happening around them at the time, to influence the design of the dress. Who designed their dress? How long did that beading take? What material was used? 


From big hips, skinny skinny waists pulled in by magical corsets to loose, no corsets and avant-garde styles. The exhibition presents the changes in style due to social and political changes around the brides at the time. For instance, due to sexual freedom and women’s rights progressing, the 1960’s saw young British designers creating designs and shapes that had never been seen before.


Katie Shillingford’s dress was by far my favourite. Maybe because it was something you would never imagine to be a wedding dress. The dress hanged so delicately and mystically like candle wax dripping off her body along with a veil (by Stephen Jones) knotted at the top into two ponytail’s.


The exhibition presents innovation for the wedding dress and shows us how the 21st century wedding dress could be almost anything. A 60s style gogo dress or a grey, gothic elegant evening gown. The wedding dress is something that will always be around but will continue to evolve along with cultural change.


Go see for yourself the exquisite designs and dress making by Charles James, Christian Lacroix, Gareth Pugh, Vivienne Westwood and John Galliano. Time to appreciate their hard work and vision.


Full price admission £12.00, for more information visit


Article by by Bronwyn Stemp




Alcantara, the Italian brand of a unique proprietary technology material which combine aesthetic, technical and sensory qualities mostly used in the car and fashion industry, set up a collaboration with one of the most esteemed names in Paris fashion week and ex Paco Rabane artistic director : the Indian designer Manish Arora. We met him and M. Andrea Boragno, CEO of Alcantara at the Paris Motor Show where they present « Life is Beautiful », the installation of their collaboration.


You both define your works and yourselves as dreamers. « Can you imagine ? », « Can you dream ? » and « Indulge your imagination with an extraordinary material that offers infinite possibilities of expression » are the catch phrases of Alcantara. Manish Arora you said once that your work was about fantasy, about a dream and about what you feel. Then, we saw you both doing a fashion show at a car show : Alcantara at the last Car Design Night in Beijin and Manish Arora at the Buddh International Circuit in India. So seeing you two working together at the Paris Motor Show 2014 is not really surprising, but still…


Why this collaboration, and how do this come together ?


A.B : We met very recently and we discovered that it will be a way to fit together, because we saw his creativity and we thought that from with his creativity could have come a very interesting possibility of interpretation of Alcantara.


M.A : Alcantara is a material which everybody knows about and I think they were the one who invented the suede, which is still I think the most material on it’s own. I think it’s a thing that nobody could ever compete with. And they met me, they were looking for installation or something like that for the car exhibit but when we met is when we realized we got along well and we thought it was good to create something which is happy because I think the brand itself is a very family brand.


For you, how is fashion related to cars ?


M.A : Because they are the common factor. Alcantara is the common factor between cars and fashion.


A.B : Many car brands, they are looking for the connexion with fashion. I think about Mercedes with his fashion week. All the fashion shows all over the world, and many of the very important brands, they are looking for a trend in the industry that has became a lifestyle. So, as a matter of fact, we have an extremely important presence in automotive industry, especially in this part of the market. But we also are in fashion because it’s important.


Manish Arora, we’ve seen you use your creativity in fashion and some previous collaboration as Monoprix, Swatch or Nespresso, but never yet for Art itself as an installation, why this choice ?


M.A : Because they asked me. It’s as simple as that.


Your installation which represents a house is called « Life is Beautiful », and happiness is a major theme in your work in fashion. Why is this so important ? What is your definition of happiness ?


M.A : Happiness can be something very basic. Happiness can be a new pillow cover before you sleep, I think that’s happiness. But to put that across, I thought if they got me in the project, my ideology of « Life is Beautiful » works like that. Even if we have bad days we still work thinking. And I thought it was the best way to do this project to bring some happiness in it. I think everybody needs happiness these days.


Positive psychology says that we think we first have to get succes in order to be happy, but that in fact it´s the exact opposite, you have to get happiness to then be successful. Are you a supporter of this philosophy? Are you trying to make people happy through your work?


M.A : That was a very complicated question. All I can say is I think that happiness comes before being rich or poor and you can be poor and happy.


Article by Alexandra Lefevre



Born in 1940, H.R. Giger was a Swiss painter and sculptor whose work has achieved international recognition and fame.  Giger’s work has been described as ‘biomechanical’, reflecting the seamless visual union between the organic and the mechanic. Giger chronically suffered from nightmares, which he has stated, was much of the inspiration for his art.  The end results are wildly imaginative paintings and sculptures of surrealistic landscapes and lifeforms.

In 1977 Giger published his first compilation the ‘Necronomicon’ that inspired the ‘Xenomorph’ creature from director Ridley Scott’s Alien. Scott hired Giger to produce artwork as well as conceptual designs for the film and subsequently his work earned him an Academy Award in 1980 for ‘Best Achievement in Visual Effects’.  Following Alien, Giger’s unique eye for the odd and ethereal was sought out for other prominent Hollywood films, such as PoltergeistSpecies II and most recently Prometheus.

Over the years Giger would continue to paint and sculpt with many of his most prominent original works being housed at the H.R. Giger Museum in Gruyères, Switzerland, which is itself an extension of his enduring desire to see his work manifest into a three dimensional living environment. H.R. Giger passed away on May 12, 2014 leaving behind a profound and timeless body of work.

For this season Supreme is proud to release a collection of items including a Coaches Jacket, a Hooded Sweatshirt, a Knit Top, a long sleeve T-Shirt, two short  sleeved T-Shirts and two Skateboard decks featuring some of H.R. Giger’s iconic artwork.  
Available in-store in NY, LA, London, and online October 9th.
Available in Japan October 11th.



Photos by Mathieu Villasco for LURVE Magazine.



Photos by Caroline Levy-Bencheton for LURVE Magazine.


Photos by Caroline Levy-Bencheton for LURVE Magazine.