Blue Period / Last Summer, Arakinema

Art

All photo by

Nobuyoshi Araki, courtesy of Taka Ishii Gallery, Tokyo

Prolific lensman Nobuyoshi Araki is a titan of Japanese photography. Araki’s immense oeuvre exploring corporeal subjects—bondage, his late wife Yoko, food, nudes—is readily recognized, yet few are familiar with his experimental film project Arakinema. First performed in 1986, the work features two ceiling-mounted projectors screening slideshows of the artist’s photographs along to an atmospheric soundtrack. In homage to this little-known work of Araki’s, New York’s Dashwood Books and Session Press will publish Blue Period / Last Summer, Arakinema, representing a comparative study on two series of images that comprise the piece. In 2005, the last year the work was staged live, Araki described its contrasting elements: “Last Summer is the future, it has a certain sense of resignation about it. Blue Period is the past, because it’s about how memory inhabits us. But we don’t yet have a memory of the future.” Office Magazine presents an exclusive look at Blue Period and Last Summer in anticipation of the upcoming book release.

Art

Miles Greenberg Seeks to Mirror the Truth

LE MIROIR

LE MIROIR is a circular arrangement of six monitors, capturing the viewer within the performance space rather than presenting it frontally. The six-channel video tells a surreal queer love story based on the myth of Orpheus and Eurydice, in which Orpheus saves Eurydice from the underworld on the condition that she walk behind him and he does not turn to look at her. The looping enclosure of videos means the viewer can lose themselves for a significant time walking in circles themselves, yet here they may look back behind them. It makes for an expansive perception on the story, as the viewer can chose the order and duration to watch each video in, piecing the story together.

Originally commissioned by ICD Brookfield Place Art, it was staged live during the 2025 edition of 1-54 Contemporary African Art Fair at Marrakech’s historic El Badi Palace. Shot between this performance and the Emirati Desert on the border of Oman, the performances accompanied by JeanPaul Paula and soundtrack by PersonJJesus make for Greenberg’s most ambitious video to date.

TЯUTH

TЯUTH was filmed during Greenberg’s seven hour durational performance staged at Powerhouse Arts in Brooklyn, New York, in which eight sword-wielding performers covered in black oil improvise paired encounters with a large wading vermillion pool. Similar to LE MIROIR's arrangement, TЯUTH takes up three full walls, making the performance a room for viewers to enter and immerse in. Combat becomes choreography and physical endurance becomes image in a similar fashion to video games, which the edited 15 minute version aims to emulate.

Curated by Eric Shiner, the original performance continues Greenberg's ongoing exploration of the body as both subject and material—pushed to physical extremes, rendered monumental, and transformed through duration, repetition, and collective action.

Art

We Were Never Meant to Be Contained

CHARLIE LE MINDU wears ROBE by ÉGLISE ST SULPICE, TITAN BRIDGE by LISA MICHALIK, DR GELLÉE, DR BOUJENAH, EARRINGS by ABRAXAS PARIS

CHARLIE LE MINDU wears HAT by CHARLIE LE MINDU AW11, TROUSER by CHARLIE LE MINDU SS12, BOOTS by ROMBAUT

CHARLIE LE MINDU wears ROBE by ÉGLISE ST SULPICE, JOCKSTRAP by SNIFFIES, SHOES by DR. MARTENS, EARRINGS by ABRAXAS PARIS

MUCHAS PROBLEMAS wears T-SHIRT by THE CHURCH OF EUTHANASIA X KRIS KODA, JOCKSTRAP by SNIFFIES, SHOES STYLIST’S OWN

CHARLIE LE MINDU wears WIG CAP by FOX BEAUTY

CHARLIE LE MINDU wears FACE MASK by CHARLIE LE MINDU AW11, SHOES by CHARLIE LE MINDU X ABRA SS26

MUCHAS PROBLEMAS wears BREAST SHIRT and PENIS by BEAU GLAZIER, SHOES by CHARLIE LE MINDU CHARLIEWOOD

CHARLIE LE MINDU wears SHIRT by PRADA, PENIS CHAIR by BEAU GLAZIER, VINTAGE GARTERS

MUCHAS PROBLEMAS wears SHOES by ROMBAUT, PLEASERS, PANTS STYLIST’S ARCHIVE, SHOES by ROMBAUT, EARRINGS by ABRAXAS PARIS

Art

DUPE Opens Its First New York Showroom

The nearly 2,000-square-foot space functions as both a showroom and creative hub, where visitors can explore the brand's collection, collaborate on custom commissions, and browse a curated selection of vintage Moroccan rugs. Building on the community-focused model established in Los Angeles, the New York location will also host public programming including screenings, panels, gatherings, and DJ sets; positioning the showroom as a flexible space for design and cultural events.