The Ritsch Sisters at Villa Clea

July 05, 2024

On those muggy days of late June in Milan, the elongated structure of Villa Clea appears like a mirage of an oasis of contemporary aesthetics. Located near from Fondazione Prada and surrounded by tall residential buildings that rise like an amphitheater around the structure, Villa Clea provides a veritable stage on which the Ritsch Sisters were invited to present their site-specific work of photo and video installations.

“I invited Anna and Maria Ritsch to live with Matteo and me, interpreting the spaces of this house, and they led me to reflect on the concept of relationship,” says Allina who established Villa Clea with her partner Matteo Corbellini as a multifunctional loft for living and showing art.

By Theophilos Doranti
Photos courtesy of Villa Clea and the Ritsch Sisters

And it is in fact the very idea of abstract interrelational experiences that comes to mind when strolling through the exhibits within the three separate rooms of Villa Clea. The Ritsch Sisters seem to have approached the architecture and interior of Villa Clea with precise playfulness, as becomes evident in the first room of the exhibition. Against the backdrop of a minimalist sound installation featuring the sounds of birds from New York and Vienna combined with occasional piano notes, we see photographs mounted on curved aluminum plates, which engage in a respectful dialogue with the space and the spectators. These sculptural photographs seamlessly blend into the organic monomaterial construction, which largely consists of light curtains, mirrors and aluminum furniture. As they either face or turn away from the viewers, they create a captivating interplay of proximity and distance, resulting in a wonderful ambivalent experience between concentration and spatial dispersion.

The second room shows a video installation titled Sound of an Egg Peeling, a symbolically charged exploration of human interdependence and connection. German-speaking viewers will likely notice the phonetic similarity between the English eye and the German Ei (egg). Might this be a meditation on natality and the Ritsch Sisters’ shared fascination with the seeing eye? In any case, eggs scattered throughout the room (sourced from a neighboring farm) create an immersive encounter, especially when visitors start peeling one of those eggs themselves.

In the third and final room, we find ourselves standing in front of a bed over which the largest photo print of the exhibition looms, titled Full moon she thought. It shows a woman with half-open eyes gazing at us from a potential delirium. Or is she annoyed that we disturbed her in her private bedroom? Those who don't fall into the bed at this point can turn over and enjoy getting their hands on the publication Together Apart by the Ritsch Sisters, which was published last year.

Immersive and fluid

For Villa Clea, Matteo Corbellini has used the remains of an old body shop to build a new architecture made of clay and concrete, while Allina (Alessandra Pelizzari Corbellini) designed the puristic and clear interior. Together, they have created an immersive and fluid space where they live, offer art residencies and aesthetic experiences, in a community centered around contemporary art.

Art

LA's Megan Mulrooney Gallery Opens Its Doors

September 19, 2024

Change is in the air for Megan Mulrooney, the former Director of the Nino Mier Gallery, who left earlier this year. But the air, more olfactive than figurative, still smells the same: her new space is in Mier's old space.

We're in her office at her new art gallery in Los Angeles, which spans two corner buildings across the street from each other. On the largest of the buildings, foliage grows, covering everything but the door; on the other building, an old marquee sign lists its next showing: "Megan Mulrooney, coming soon."

Nino Mier closed his Los Angeles locations over the summer following allegations of financial misconduct, including reports of “shortchanging artists” and “falsifying records to increase profits,” according to ArtNews.com. While its other locations in New York, Brussels, and Marfa remain open, the scandal left the West Hollywood space vacant, up until last month, when Mulrooney decided to move in. It's a decision that intrigues art world insiders and others who couldn't care less, for the same reason: it's risky; what if there's "bad juju?" But, in Mulrooney's case, staying makes sense.

By Hailey Johnson
Images courtesy of Megan Mulrooney Gallery

"Real estate is tough in LA," she explained recently, acknowledging the challenges while emphasizing her commitment to the artists and community she’d worked with for years. "I felt a responsibility to preserve what I had built that wasn't mired in scandal. I had created something great here — my kid goes to school down the road, I live fifteen minutes away. This is my home.”

As then-senior-director, Mulrooney pushed for Nino Mier to open its third location in West Hollywood, this being the foliage-covered building, in 2018. Mulrooney's "home”, on Santa Monica Blvd, is a set of three, spacious galleries that act as a "love letter to LA."

Two of the galleries are reserved for solo shows, while the third serves as a curated collection, where an artist handpicks favorite works from their peers. The three artists featured in the opening came from Nino Mier. For the solos, Mulrooney emphasized the importance of creating intergenerational connections, featuring 22-year-old painter Piper Bangs and 45-year-old Marin Majić.

Piper Bangs, "Fruiting Body," 2024. Courtesy of Megan Mulrooney Gallery.

In Bangs’ "Fruiting Body", you’re invited into a dreamy world where droopy pears roam between forest floors and clouds, waiting for the sun to pierce through. In Marin Majić's "Dawning", technicolor and marble dust glow on drawings of nightclubs, speedboats, and early morning plane rides.

"The exhibitions speak to each other," Mulrooney said. "[Both artists] have a world-building process that teaches us their way of seeing."

Marin Majić, "Dawning," 2024. Courtesy of Megan Mulrooney Gallery.

Meanwhile, "Saints and Poets", curated by artist Jon Pylypchuk, sparks its own conversation. "I love this idea of finding out what makes [an artist] tick," Mulrooney shared. "Who are they looking at, who did they go to school with, who is in their circle of artists? In the 16th or 17th century, you’d see these groups of artists referred to as a ‘School.’ 'Saints and Poets' is like the School of Jon Pylypchuk."

In Jon's "school", playful characters made of bronze-casted balaclavas spring to life, and a sculpture of entangled, human-shaped cotton feels so intimate you shouldn't be looking. (I kept looking.)

"I want you to feel good about what you saw," Mulrooney said. " Maybe you didn't like it, maybe you loved it, but you're still like, ‘Wow, this has been interesting.’"

Jon Pylypchuk, "Saints and Poets," 2024. Courtesy of Megan Mulrooney Gallery.

In the coming months, the gallery plans to showcase other former-Mier artists before transitioning to a "substantially different" roster. "It was only natural for me to call upon the artists I've worked with before," Mulrooney reflected. "They are people I know and support, and I’ve seen their art and careers grow."

Her voice carried a sense of gratitude as she showed me around the galleries, pointing out hidden details — minute brushstrokes, delicate chiseling. Their work spoke to her, taught her things, meant more to her than what was left on. "I feel so honored that so many of the artists have trusted me to move forward and keep presenting their work," she said. "A lot of good has come out of this. I'm taking a space from my past and making it my own. As I grow and differentiate myself from where I [previously] worked, it's important for me to build my own voice."

She laughed, adding, "It's a coming-of-age story, a little bit, which is kind of ridiculous – but here we are.”

Art

Keegan Dakkar Leaves Room for Spontaneity

September 18, 2024

For the month of September, office partnered with Alpha Industries to highlight eight icons in New York culture. Each of our September cover stars has shaped the next frontier across fashion, arts, music, and beyond.

Our fourth September cover star is multi-hyphenate tattoo artist and impossibly cool New York native Keegan Dakkar. Raised in the Lower East Side at the height of the anarchist and punk community of the ‘90s, Dakkar’s practice distills a lifetime of cultural influences and exposure. His visual art defies categorization, with group and solo exhibitions of his drawings in New York and Tokyo, a jewelry and fashion design portfolio including work for Marc Jacobs and Supreme, and a dedicated cult following of his idiosyncratic custom tattoo work.

Photography Adam Powell
Styling John Colver
Interview Brook Aster
Talent Keegan Dakkar wearing Alpha Industries MA-1 Heritage Bomber
Creative Direction Mitchell Connell
Videography JP Blair
Grooming Cassandra Lee
Photo Assistant Brian Karlsson
Video Assistant Ian Wishart
Creative Producer Liv Solomon
Production Assistant Sophie Collongette
Location Musiquarium
Design Direction/Art Direction W—E Studio, Claudine Eriksson, and Piera Wolf
Graphic Design W–E Studio, Hannah Nathans
Special thanks to Joe & The Juice

By his estimation, Dakkar began tattooing “5 or 6 years ago,” and in that time, his art has found its way onto the bodies of hundreds of New Yorkers (including two members of our on-set crew) and the screens of tens of thousands more online admirers. He gives nearly exclusively custom tattoos, creating the design in collaboration with the tattoo’s recipient and embracing the improvisation of the moment. On the eve of Dakkar’s birthday, we paid a visit to Musiquarium, the Greenpoint studio he shares with a handful of other artists. For proof of his love of spontaneity, look no further than this story; Dakkar simultaneously gave an unplanned custom tattoo to our makeup artist Cassandra Lee while I asked him the questions below.

Do you remember the first tattoo you ever gave?

For years, two really close friends of mine were trying to convince me to tattoo, way before I ever did. The first tattoo I ever gave was at my friend’s house. He basically invited me over, and when I got there, he surprised me with his mom's boyfriend's tattoo machine, and he forced me to tattoo him.

It looked really bad. I think I drew a witch hat on top of a tattoo of a punk guy. [Laughs]

Doing cover-ups like that is the first way I started tattooing — they’re kind of like cover-ups, I've been trying to find a good word to describe them. It was the only way I would tattoo.

It's my favorite way to tattoo. It feels like giving an old tattoo a makeover, like drawing Gene Simmons makeup on a newspaper face or something like that.

Why were your friends trying to get you to start?

A lot of my friends knew me as someone that was capable of drawing. I think they pushed me to tattoo because they saw me just working various dead end jobs and not really using my time well.

When did you start tattooing at this studio?

I started tattooing at this studio about three and a half years ago. I was working with my friend Tamara Santabañez. Jackson and Carson, who work here, had reached out to me because they wanted to open up this studio. So I ended up joining them, and we opened this place together. There's about five of us that work here.

What’s your favorite place in New York?

My favorite place in New York is probably my house. I'm a big homebody. But there's some other little gems in New York that I really love, like Holographic Studio. Street Fever at Punk Alley is one of the best places in New York to go — it's a junk shop and tattoo studio.

I always try to support the mom and pop shops. Never go to a 7-Eleven or a Starbucks or anything like that.

What is the most memorable tattoo you’ve ever given someone?

I think the most memorable tattoo I've done, or the one that has stuck with me the longest, is an upper back piece I did in the pictographic letters I'll do often. It says “energy” across my friend Cosmo’s back. I did it in Melbourne, Australia. We had one day to do it. I freehanded it, and we were there for about 12 or 13 hours. That feels like one of my favorite tattoos I've done.

Do you always do customs?

Yeah, I've always done custom tattoos. I think there's something really nice and special about the collaborative nature of sitting together and talking out an idea. I really like feedback and input when I'm tattooing. I'll often have moments where I'll stop and ask a question.

The majority of my work ends up feeling collaborative — I guess my entire body of tattooing is somewhat collaborative with every person that comes in. The way I book appointments, I almost require a prompt — whether it's an idea or just a photograph, it's basically just a jumping-off point. I feel everyone out and just slowly come up with what we're doing.

Every tattoo I do is conceived, drawn, and done on the spot. There's a lot of spontaneity and it’s all based on intuition. I never draw things up beforehand.

Depending on the type of imagery or idea we're working with, I'll sometimes try to take a little time to sit and think about it, and how we want to approach it. But I really enjoy leaving it up to the actual day and moment of our appointment.

Sometimes the placement of a tattoo will dictate the image, and sometimes an image will dictate its placement. A lot of things I do freehand, but in other instances, I'll draw beforehand with the person there. Even when things are pre-drawn, I always need to leave a little bit of room for improvisation.

KEEGAN wears MA-1 HERITAGE BOMBER JACKET by ALPHA INDUSTRIES, HAT by STAR SHOP, SHIRT and PANTS are TALENT’s OWN

Every tattoo I do is conceived, drawn, and done on the spot. There's a lot of spontaneity and it’s all based on intuition. I never draw things up beforehand.

Is it ever stressful?

I think I go into every tattoo feeling stressed. [Laughs] In general, the way I draw, like with anything, mistakes happen. Sometimes the things you omit are just as important as the things you include. Sometimes things may not happen exactly the way I imagined, but I always embrace it.

What was the first tattoo that you ever got?

The first tattoo I got was by Big Steve at Fun City Tattoo. He's a good old friend of mine, and he used to tattoo me and all of my friends in high school — or, not in high school, but, like, when we were younger.

What’s your go-to deli order?

Some kind of carbonated beverage. Something with caffeine in it. Something sweet. I like ice cream sandwiches. If I do get a sandwich at a deli, I usually go for pepper jack cheese, lettuce, onion, mayo, mustard, salt and pepper, and vinegar on a roll.

No protein in the sandwich?

I don't really fuck with processed deli meats like that.

What do you like to eat?

My favorite place to eat around here is definitely Ashbox. I think it's one of the best cafes in all of New York.

Out of the places that I grew up going to that are still around, I’m big fan of Two Boots Pizza. I spent a lot of time there, it's still probably one of my favorite slices in New York. And when I was growing up, almost every other corner was a Ukrainian or Polish diner. Veselka’s still there, but like, literally every corner was a Ukrainian diner. I grew up eating pierogies, I feel like Ukrainian food is like my comfort food.

If you weren’t a tattoo artist, what would you be doing right now?

I would probably be an ascetic, and live on a farm. Or be a nurse. Or maybe a baseball player.

Art

Ethan James Green's Bombshells

September 16, 2024

Examining and exaggerating the characteristics of a bombshell in an exploration of gender, femininity, and glamor, photographer Ethan James Green opened his show BOMBSHELL at Kapp Kapp in Tribeca earlier this month. Featuring images created in collaboration with hair artists Lucas Wilson, Jimmy Paul, and Sonny Molina, the show stars a collection of New York’s rising stars and underground icons — who also happen to be Green’s friends — including model and artist Connie Fleming, writer Devan Diaz, fashion editor Gabriella Karefa-Johnson, and model/stylist Dara Wilson.

The gallery show is a continuation of the previously released Bombshell book published in 2022 in a limited edition collaboration with Baron Books. Recontextualized in a gallery space, Ethan James Green’s bombshells appear as vulnerable as they are formidable, playing with the archetype’s dynamics of power.

Interview by Brook Aster
Photos by Ethan James Green, courtesy of Kapp Kapp Gallery
Cover image "Connie," 2021. Gelatin Silver Print. 15 x 15 inches. Photo courtesy of the artist and Kapp Kapp.

What makes a “bombshell” to you? What drew you to that archetype?

Ethan James Green— To me, the bombshell is defined by sex, hair, and confidence. I’ve always felt inspired by glamorous, powerful women, and the bombshell felt like a paragon of glamor and power.

Who were some of the formative bombshells in your life?

My most formative bombshells were Mary Magdalene and my grandma.

As a male photographer, how do you relate to that archetype? Do you think there is something about the spirit of the bombshell that transcends gender?

While I’ve always been fascinated by these powerful images of femininity, they don’t reflect my experience. There’s a certain unattainable quality about the bombshell for me, which I think is part of what I’ve personally found so transfixing. Even though these women are involved in a highly codified, gendered performance, I think anyone can identify with their expressions of femininity.

My most formative bombshells were Mary Magdalene and my grandma.

Is everyone in the book someone that you knew personally? How did you decide who to ask to be a part of it? What does that existing relationship with a subject / model contribute to an image?

I already had personal relationships with most of the models and people who worked on the project, but I then met a few new collaborators through mutual friends involved with the body of work. I think the personal connections of everyone involved created a feeling of trust that was integral to the project. That trust created an environment where the subjects felt comfortable to take control and pose themselves; I just followed their lead. The personal connection between me and the team allowed for a shorthand that let us be spontaneous and an intimacy that let us experiment together.

Now that some years have passed since you shot these images, how has your perspective on them changed, if at all?

I’m just as excited about the images as I was when I first shot them. The project was born out of a desire to create something sexy at a time when that felt somewhat indulgent or out of style, even though it was something me and the collaborators all wanted to participate in.