Watch the Bronx-based chef collective Ghetto Gastro stir up a portion of spaghetti and meatballs. While the all the chefs are very experienced, things don’t always go as planned when you are cooking at our most recent Toiletpaper Paradise installation at Cadillac House. But it sure is fun!
MAURIZIO CATTELAN and PIERPAOLO FERRARI’s ‘more is more’ installation is an interactive immersion into TOILETPAPER magazine’s wild aesthetic. Through psychedelic reimagined domestic settings, the exhibition reveals vibrant vignettes featuring TOILETPAPER’s art and product collaborations all stacked, layered, and pastiched. Attendees are invited to touch, play, move, sit, recline, and position themselves in the physical manifestation of the minds of the artists. Some areas, best described as Mad Men on acid, includes a mock headstone that reads ‘The End’. Lounge and bedroom are subverted living areas full of absurd possibilities and combinations. Interspersed among all the high-impact accessories are a few standout pieces imagined by TOILETPAPER and produced by Gufram, as well as homeware produced by Seletti customized by TOILETPAPER’s founders with their off-beat imagery.
TOILETPAPER magazine is a bi-annual, picture-based publication co-created by artist Maurizio Cattelan and photographer Pierpaolo Ferrari. A ‘new generation’ magazine, Ferrari describes the project as a ‘mental outburst’ of shared ideas between the two collaborators’ passions and obsessions. The result is a fascinating collection of visual tableaux, vivid color, and subversive, comic imagery. Though the works appear to have been appropriated from world’s most surreal stock-photograph service, they’re all made from scratch. “Every issue starts with a theme, always something basic and general, like love or greed,” Cattelan explained. “Then, as we start, we move like a painter on a canvas, layering and building up the issue. We always land ourselves in a place we didn’t expect to be. The best images are the result of improvisation.”
The Gallery at Cadillac House is a blank space where Cadillac and Visionaire partner to curate non-traditional, interactive exhibitions with no boundaries. Toiletpaper Paradise is free and will be open to the public from February 9–April 9 at Cadillac House, 330 Hudson Street, NYC.
VISIONAIRE conceptualizes and produces films, public artinstallations, experiences, branded content, art multiples, and products—all curated through the lens of art, fashion and contemporary culture. With its unparalleled roster of contributing artists, photographers, filmmakers, fashion creatives, and cultural icons, VISIONAIRE remains at the forefront of groundbreaking creativity in all different media.
CADILLAC HOUSE is a meeting place where innovators, creators and the curious can find inspiration—and one another. Located in downtown New York City, Cadillac House represents the brand’s commitment to its new home, one of the most dynamic locales in the world. Open to the public, Cadillac House functions simultaneously as a gallery, retail space, café and exhibition area for the brand’s new vehicles—a venue with an ever-evolving Cadillac point of view on subjects beyond automotive design.
February 9–April 12, 2017
The Gallery at Cadillac House
330 Hudson Street New York City
Mon–Fri 8am–7pm Sat–Sun 10am–5pm
Come visit robot artist ADA0002 at the Gallery at Cadillac House. Pose for it. Witness ADA’s process. Collect your portrait: an artwork created by the eye and hand of a machine.
Exploring the metaphysical lines between art, artist, value, and the digital/material dichotomy, AUTOPORTRAIT confronts notions of the intrinsic soulfulness and meanings that may lie behind artworks created by the hand of a robot.
As we approach an era of matured artificial intelligence and blending of digital realms with the real world, these questions become ever more pertinent. For example: what happens when, through technological means of perception, automata are able to create with greater precision than their human counterparts? How will creativity be affected when an augmented human or AI can distinguish spectra of light and color that are beyond our native biological abilities? Through the frame of the art world, VISIONAIRE’s AUTOPORTRAIT seeks to ruminate on such assertions.
Eschewing traditional forms and classical conventions of portraiture—and looking decidedly toward the future—the format of the exhibition reveals the robotic artist, ADA0002, in situ in the studio/gallery. As audiences arrive to examine ADA’s processes, the Advanced Drawing Automaton examines back, selecting particular viewers for whom it creates a portrait. Using image processing algorithms, the artist – who is itself synthetic – stylistically synthesizes the image of its audience, transforming the viewer from a tangible being into processed computer data and back into a unique physical object/artwork. This artifact can be taken out of the gallery context and hung on the walls of the subjects’ homes, thus completing the cycle of this new artistic paradigm.
ADA as artist and exhibit—here subverting its own original implementation as one of many robots working a factory line, and imbuing in itself a sense of individuality and humanistic transformation–uses art creation to explore the personality of the individual that it draws. Considering that the exhibition is in the home of the preeminent American car-maker, Cadillac, which uses robots not unlike ADA to help build its vehicles, the new gallery context itself furthers this hypothesis on the possibility of a robot asserting its own personal idiosyncrasies and characteristics. In this sense, ADA physically mimics and synthesizes the behavior of an organic, sentient personality, while also synthesizing the image of an organic, sentient person. Here, in the same way that a traditional portraitist may gesturally attempt to elucidate for his or her viewer the essence of the sitter, ADA attempts to derive the soulfulness and essence of its subjects as well. The robot—whose name references the self-described “poetical scientist, analyst and metaphysician” Ada Lovelace (1815-1852), a technological pioneer considered the world’s first computer programmer—thus acts as a pioneer of these new concepts of robotic artistry. Through its inaugural solo gallery show, AUTOPORTRAIT, attempts to muse upon this notion of a blurring of the line between human and machine intelligence, and its potential consequences for the field of art.
AUTOPORTRAIT is open October 13 – November 4, 2016
The Gallery at Cadillac House
330 Hudson Street New York City
Mon – Fri 10am – 7pm Sat – Sun 10am – 5pm
We have all seen the Jun Ropé commercials featuring a very dramatic Lauren Hutton, an insecure but beautiful Jean Shrimpton, an emotional yet curious Anjelica Huston, and the legendary Veruschka crossdressing before turning in out as the stunning woman she is in front of the creator of them all, Richard Avedon. In a new exhibition, Visionaire, in collaboration with the Richard Avedon Foundation, is combining the most iconic and famous moving images with an array of completely unseen footage from the great master’s archive. Richard Avedon, Moving Image opens September 8 at Cadillac House, NYC.
While the hashtag in front of #mycalvins might be new, the term “my calvins” actually stems from a 1981 commercial featuring a then 15-year-old Brooke Shields hunched over, hair cascading down to her knees, dressed in dark brown cowboy boots, a khaki button up, and a pair of Calvin Klein jeans. She whistles before she softly declares that nothing comes between her and her Calvins (“You want to know what comes between me and my Calvins? Nothing!”). Not only is the whole thing concepted, shot and directed by Richard Avedon, it’s also a testament to the timelessness of the American creator, who’s photos adorned most of the Vogue covers from 1973 when he was made lead photographer (he was on staff from the time Diana Vreeland joined in 1962) until Anna Wintour took the reigns of the publication in 1988.
The photographer had a wildly successful career: he photographed everyone from The Beatles to Hillary Clinton, Dwight D. Eisenhower to Andy Warhol, Marilyn Monroe to patients of mental hospitals, the Civil Rights Movement in 1963, protesters of the Vietnam War, and later the fall of the Berlin Wall. An obituary in The New York Times stated that “his fashion and portrait photographs helped define America’s image of style, beauty and culture for the last half-century”. Annie Leibowitz counts him as a major influence and we dare state that no one, who wants to be a photographer, hasn’t spent hours studying his unprecedented body of work. We certainly have.
Richard Avedon, Moving Image is free and open to the public September 8 through October 7, 2016 at The Gallery at Cadillac House, 330 Hudson St, New York, NY 10013.
Remember when Andy Warhol was filmed eating Burger King? How about Salvador Dali’s explanation of Alka Seltzer? Back in the day, artists and brands worked together and changed the game of advertising. For our 25th anniversary, we invited artists to create their own creative commercials inspired by their favorite issue of VISIONAIRE. Through our curatorial partnership with Cadillac House in downtown NYC, we will exhibit a selection of these commercials for your viewing pleasure.
The works range between 15 seconds to 4 minutes. Actress Juliette Lewis delivers a bone-chilling performance for Director Amanda Demme’s interpretation of issue 13 SEVEN DEADLY SINS. Directing duo Alice Rosati & Charlie Le Mindu re-create a surrealist 26 FANTASY film, complete with Dior couture, contortionists, and a blue painted woman. Ivan Olita compiles a humorous montage of Leonardo diCaprio eating and drinking throughout his films for 47 TASTE. Tyler Ford captures model Bella Hadid during personal moments for 52 PRIVATE. “It was a great privilege to honor such an incredible piece of art with such a wonderful woman and crew,” Ford said. “Creativity knows no greater friend than Visionaire.”
Ironically, these commercials do not serve their normal purpose of commerce. VISIONAIRE presents this purely as experimental art and non-traditional film, expanding the boundaries of what is considered publishing and the way we view and experience art and fashion.
On view from August 8, 2016 through August 31, 2016 at The Gallery at Cadillac House 330 Hudson Street NYC.
For the inaugural exhibition at the gallery at Cadillac House, Visionaire is pleased to present artist Geoffrey Lillemon’s first solo show in the United States. Lillemon’s work occupies the exciting space between art and technology, music, and pop culture. Drawing on a multitude of psychedelic patterns, effects, and an array of magical figures, HISS MISSY invites the audience inside the artist’s mind; a world in constant flux of morphing color and melting images, glowing, pulsating like a living being.
HISS MISSY, June 2 – 28, 2016, Mon-Fri 7am – 7pm, Sat-Sun 10am – 7pm, The Gallery at Cadillac House, 330 Hudson Street, New York, NY.