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Butoh is a unique dance form that emerged following the conflicts of World War II. Its poignant style is a translation of the horrors of war and at the time of its founding, it became a way people could express their emotions. The movements during a performance are initially slow, but as the sound effects progress, motions become more vivid and obvious. Facial expressions are a significant aspect of butoh; the performer often looks possessed or in pain as their eyes roll back into their head, their mouths open and breathe heavily. The abstract style is artistic and unusual. It is often improvised and based-on the performer’s connection with sound, the surrounding environment and their inner feelings.

Renowned for her choreography and butoh performances, French dancer Vangeline founded the Vangeline Theater to bring the Japanese style to New York. She recently performed at Daniel Arsham’s Lunar Garden installation that showed at The Gallery at Cadillac House from September until November and, in collaboration with Visionaire, featured in a film. Directed by Matthew Placek, the film features intimate shots of Vangeline moving slowly across the raked sand of Arsham’s zen garden, disturbing its perfect linear format.

Make-up: James Kaliardos Hair: Shingo Shibata Dress: Caroline Hu Styling: Daniel Edley


Visionaire and Cadillac invite you to race on the largest mini4wd racing track on the East Coast!

Construct! Create! and Compete!

With high-speed, thrilling fun, VISIONAIRE Racing is the new, action-packed, interactive exhibition at The Gallery at Cadillac House. Based on the 1980s Japanese, cult miniature 4WD model-making and racing competitions, VISIONAIRE brings its own artistic and curatorial twist to the construction and the sport of miniature car racing. In keeping with traditional “Mini Yonku” racing, both novice and professional racers as well as visitors to Cadillac House are invited to CONSTRUCT (car kits are available for purchase), CREATE (with an array of colorful embellishments) and COMPETE on the East Coast’s largest Mini4wd racing track.

Traditionally, this international phenomenon is about speed, along with personal expression and style. VISIONAIRE Racing and Cadillac’s approach is focused on individuals creativity in both racing and artistic expression. Participants can decorate their own Mini4WD race cars, taking inspiration from Artist Cars on display by Tom Sachs, Marilyn Minter, Virgil Abloh, Laurie Simmons, Nicola Formichetti, Will Cotton, Kristin Baker, Heron Preston, Liz Cohen, Ryan McNamara, Korakrit Arunanondchai, Justin Adian, Bill Powers, Modem, Toland Grinnell, Jon Kessler, Van Neistat, Bob Rubin, Giacomo Di Mura, and more.

Even race car driver Jordan Taylor of Cadillac racing, winner of the 2017 IMSA Weather-Tech DPi driver championship, has decorated a miniature car included in the installation.

Guests are encouraged to let their imagination race!

As The Gallery at Cadillac House transforms into the largest Mini4wd racing track on the East Coast, so, too, will the vehicles on display. For the duration of the installation, Cadillac’s ATS-VR Racing Sportscar, which was driven in the 2017 Pirelli World Challenge Sprintx Championship, will be on display. The brand will also be displaying new colors for the CTS-V Series including the Glacier Metallic CTS-V and the Vector Blue CTS-V, which will be on the runway at Cadillac House from November 15 through early December.

The track is open for racing everyday from 12pm until close (call 212.418.3477 for holiday hours). There will be qualifying competitions on select Sundays (12/3, 12/10. 12/17) with a Grand Finale Race on 1/7. Visitors can bring their own Tamiya Mini4WD cars, buy cars on site to race and keep, or race and return one of the available cars. Racing is free and open to the public.


There will be tournaments on Sunday Dec 3, Dec 10, and Dec 17 to qualify for the Grand Finale on Jan 7, 2018. Professional racers may bring their own cars.

Stock Class cars must be based on Box Stock motor, chassis, wheels, rollers, and fundamental mechanical components. Mixed box kits and artistic embellishment allowed (and encouraged!).

Modified Class cars to follow strict Tamiya Japan Cup rules tamiya.com/english/mini4wd/regulation.htm>. Series motors are the highest level of engine allowed. All cars may be inspected after the races are complete, inside and out, and may be subject to dismissal if infractions of the rules are discovered. You may bring your own Tamiya Mini4wd car and batteries, there is no fee for race entry or use of the circuit. Mini4wd Stock Kits, and Alkaline AA batteries will be available for sale on site.

Sunday Qualifying Races: 12/3, 12/10, 12/17 Grand Finale SHOWDOWN: 1/7
THE RACE Track opens at noon— THE First race WILL BEGIN at 1pm

VIRGIL ABLOH is a creative designer, DJ, and the founder of the Milan-based fashion label Off-White. After receiving his Masters in Architecture at the Illinois Institute of Technology, Abloh was art director for the 2011 Jay-Z / Kanye West album Watch the Throne, for which he was nominated for a Grammy Award for Best Recording Package. In 2014, Abloh started Off-White, offering high-end men’s and women’s collections. For Visionaire RACING, Abloh air-brushed his miniature race car a creamsicle orange with the name “Lee” written on it.

JUSTIN ADIAN’s artworks exist within the realms of both painting and sculpture, becoming experiments of two and three dimensional entities. His style originated from his failure to sculpt a piece of foam he found outside his studio, so he instead trusted his painterly origin and wrapped it in a painted surface. This technique is the core of much of his work today. For Visionaire RACING, Adian transforms a hard angular mechanical into an amorphous soft-edged creature that he calls “GWAR” which he describes as “a cuttlefish egg alien.”

KORAKRIT ARUNANONDCHAI is a multimedia artist working in film, photography, sculpture, installation, apparel, poetry, painting, music, and performance. Drawing from his family members and his current research in natural sciences and technology, Krit (as he is known) works with the idea of animism as framed both the near future and a distant past. For Visionaire RACING, Krit created a hybrid creature made as a by-product of his consumption of the natural world.

KRISTIN BAKER’s style and composition of shapes and colors and her use of contemporary materials are heavily inspired by motor racing and the concept of ‘accident and consequence’ which were subsequently interpreted into bold paint strokes. For Visionaire RACING, Baker draws on her inspiration for cars, American capitalism, and advertising to create a slick bold colorful race car.

LIZ COHEN is a performance artist and automotive designer, currently teaching at Arizona State University in Tempe, Arizona. Cohen is most notable for her BODYWORK project that transformed an East German 1987 Trabant automobile into a 1973 Chevrolet El Camino, complete with iconographic sexy babe photography. For Visionaire RACING, Cohen dressed her tiny toy car as a “MONStr trck” complete with an evil, albeit adorable, personality.

WILL COTTON’s themes of desire and fulfillment translate into landscapes of sugary treats and baked goods, referencing consumerism and commercial advertising. Cotton’s cotton-candy inspiration has manifested itself in large-scale oil paintings, photos, sculpture, a functioning bakery, and costume and set design for singer Katy Perry. For Visionaire RACING, Cotton transforms a decidedly inedible race car into a mouth-watering gold-wrapped Hershey’s kiss.

NICOLA FORMICHETTI is the Global Artistic Director for Diesel and Creative Director at Uniqlo. He is responsible for some of Lady Gaga’s most iconic looks including the infamous MTV meat dress. Formichetti’s 2-year old brand, Nicopanda, offers genderless high concept streetwear. For Visionaire RACING, Formichetti and Nicopanda transformed a typical toy car into a sexy metallic-finish racing machine with a surprise custom hood ornament.

TOLAND GRINNELL is a sculptor playing within the grey area of creative expression and consumerism, high art and high fashion. For Visionaire RACING, Grinnell took an alternate approach heightening the potential of the car by deconstructing it. Mounting the individual parts for the viewers eyes and including the tools necessary to reassemble and race the car increases the possibility that physically touching it would make it more exciting.

JON KESSLER makes sculptures with complex kinetic parts and intricately built structures. His art taps into the frenzy of modern existence, with touches of humor and kitsch. Based on claims that a fidget spinner can be used to help calm people down who suffer from anxiety and other neurological disorders, Kessler fittingly attached a fidget spinner to the top of his miniature race car for Visionaire RACING, thereby alleviating any race day anxieties.

RYAN MCNAMARA is a performance artist focused on dance, though he is not a trained dancer himself. His debut piece and ‘first dance class’ was titled “Make Ryan a Dancer” at MoMa PS1 in 2010. His work revolves around people and is often interactive. For his most ambitious production to date, ME3M, each audience member was wheeled around an entire theatre to watch multiple performances. For Visionaire RACING, McNamara made “Van Go!”: a miniature race car featuring a hand-made plastic ear.

MARILYN MINTER explores the relationship between glamour and female sexuality in her large-scale photo-realistic paintings, photos, and videos. Though much of her work comes across as slick, her work is usually hand-finished with finger blending, adding a tactile quality to her images. For Visionaire RACING, Minter uses her miniature car as a vehicle to communicate women’s rights and women’s empowerment.

MODEM is Kathryn Moll and Nicholas de Monchaux, a creative practice based in Oakland, CA. Kathryn Moll is an architect and Nicholas de Monchaux is Associate Professor of Architecture and Urban Design at UC Berkeley, where he is currently Director of the Berkeley Center for New Media. For Visionaire RACING, Moll and de Monchaux created a creature at once familiar and foreign: it could be from outer space or perhaps the future, it looks like an animal, but is all machine.

GIACOMO DI MURO aka GIACA WHATEVER is a web serial entrepreneur who started his YouTube venture during a sabbatical year. “I started this venture to share things I make that you can actually touch unlike my web products,” he said. For Visionaire RACING, Di Muro created a toothy cyclops creature, at once horrifying and strangely adorable.

VAN NEISTAT is a filmmaker who lives in New York and Los Angeles. Neistat has collaborated with artist Tom Sachs on many short documentaries, instructional art videos, and feature-length films including “A Space Program”, and, most recently, “The Hero’s Journey.” For Visionaire RACING, Neistat transformed his race car into Ratcatcher, featuring a mouse stuffed and posed by Paige Higgins, a professional taxidermist in Baton Rouge.

BILL POWERS founded Half Gallery in 2008. He is an editor-at-large for Purple Fashion Magazine. In 2013, Gagosian published a collection of his profiles “Interviews with Artists.” Powers also formed Exhibition A which offers limited-run prints and objects by blue chip artists and writes for ARTnews. For Visionaire RACING, Powers honors his gallery with “1/2” sharpied on his car body and colorful geometric shapes exploding from all sides.

HERON PRESTON is an artist, creative director, content creator, DJ, and designer of his eponymous streetwear label. He has also collaborated with Nike, Virgil Abloh, and Kanye West. For Visionaire RACING, Preston be-dazzled his miniature race car with Swarovski crystals making it both luxe and accessible.

BOB RUBIN, a former Wall Streeter, transformed his Visionaire RACING car into a rolling billboard for his three passions –cars, golf, and art– as they intersect as his idiosyncratic high end golf club, The Bridge. The Gulf Oil racing logo becomes “Golf,” and Richard Prince’s skull bunny — itself an appropriation of another well known corporate symbol — is likewise given a new twist. While waiting for the checkered flag to drop, you can practice putting on the astroturfed rear decks of this formidable machine.

TOM SACHS calls his art “bricolage”: a constant reworking and reinterpretation of found objects and accessible materials handmade into something new. Sachs’ work often exposes the artistic process, celebrating imperfections with globules of glue, roughly-cut foam, and found wood becoming as much a part of the art piece as the message behind it. Sachs has long been obsessed with space as seen by his rocket-powered miniature car for Visionaire RACING.

LAURIE SIMMONS is a photographer and filmmaker. She often stages scenes of dolls, ventriloquist dummies, miniature objects on legs, and miniature furniture. For Visionaire RACING, Simmons used her miniature race car to send a message: Resist.

VISIONAIRE RACING from Visionaireworld on Vimeo.


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.