Artist Soheila Sokhanvari’s intricate miniatures of 27 feminist icons from pre-revolutionary (1979) Iran are painted in egg tempera onto calf vellum with a squirrel-hair brush, set against a hand-painted mural and to the soft sound of singers Googoosh & co. to form a hugely immersive site-specific installation at the Barbican’s Curve Gallery.
The Curve cocoons us in the world of these strong women of history: writers and poets, singers and actors.
“Rebel Rebel” is one of the most timely exhibition coinciding, by chance, with the latest rebellion: Woman Life Freedom… a revolt started by and guided by a new generation of Iranian feminists ✨
Images top: Poet Forugh Farrokhzad Gallery: actors Zari Khoshkam, Faranak Mirghahhari, Fereshteh Jenabi and Zinat Moadab, and pop singer and cultural icon Googoosh.
Five custom-made electric guitars are mounted on the makeshift wall at at Frieze London. These intricate objects form part of a larger artwork called ’63/22′ by LA-based multidisciplinary artist Nikita Gale. Each guitar is named after significant Black female guitarists of history: Memphis Minnie, Sister Rosetta Tharpe, Barbara Lynn, Big Mama Thornton and Joan Armatrading. Every few minutes a spotlights directs our gaze from one guitar to the next. Later in the day, three musicians will activate the guitars through live ten-to-fifteen-minute performances.
This is what happens when seemingly disparate industries overlap – when ideas collide. ’63/22′ is an artwork loaded with meaning. It takes on the current discourse surrounding the politics of sight and sound, what we are guided to see, and what we are told to hear, and of invisible voices. Through the medium of design and sound, Gale is asking us to review our biases, question what has come before, and make change happen.
’63/22′ is directed by Gale in collaboration with a team of car designers and the luthier Ian Malone for BMW Open Work by Frieze. The initiative itself aims to bring together art, design and technology, and to show this in a setting outside of the auto world.
The 63 in the title refers to the year 1963, when Gibson Guitar commissioned a car designer by the name of Ray Dietrich, who had pioneered the concept of the custom-built car designer in the age of classic cars. The idea was to bring in a creative voice from outside the traditional music world who would investigate the possibilities of the electric guitar in shape and feel.
Conventions were broken with Dietrich’s asymmetrically shaped Firebird sporting a taller horn positioned on the right rather than the customary left. The wooden neck had nine strips of alternating mahogany and maple, layered for strength and stability, spanning the full length of the instrument. It featured some wonderful quirky details too, with the wings thought to resemble the car’s tail fins. Naturally, the Firebird sounded different to other electric guitar of the time.
I meet Nikita Gale at Frieze London to untangle the complex artwork, ’63/22′.
Why an interest in the politics of sound?
My mum was a music teacher, and music was always happening in our house. Alongside teaching me the piano, she would speak about historically significant musicians. Growing up on an air force base in Alaska, she was often a visiting music teacher to our school, giving lessons on Black music history and so on. For me, it wasn’t only about enjoying the music but thinking about the histories that preceded it.
Your project at Frieze continues the investigation into the politics of sound but through the lens of the car. How did this connection happen?
At grad school, I began thinking about cars not just as technologies but as objects that we project cultural and political information into, in that the modes and the means of production of these technologies are not neutral. Decisions are being made that are informed by political positions: are the cars powered by fossil fuel versus electric, or the designs and shapes they take? What cars look like is largely determined by the understanding and biases of the people designing them.
Most of whom would be of a certain gender. How did you then circle this back to music?
While investigating cars, I began encountering interesting information about music, particularly American blues and rock. Early blues and rock songs were largely about cars, such as Ike Turner’s 1951 ‘Rocket 88’ – considered the first rock and roll record. Cars are metaphors for personal freedom, sexuality, and gender expression. The overlaps kept happening during my research, which is when I came upon Ray Dietrich and his work with Gibson in 1963. It is the first time these two industries overlapped on such a large, mass-produced scale.
It must have seemed quite a surprise then to be approached by BMW for the Frieze project. Speaking with the curator Attilia Fattori Franchini earlier, she was unaware you were already thinking along these streams of ideas.
Crazy, right? I had this idea in my back pocket for seven years, so when BMW reached out to collaborate at Frieze, I already knew what I wanted to do. It was an incredible coincidence, and I knew we had to do this. Added to this, I’m a real car fan.
And how do you feel about the project that is displayed before us?
It never ceases to amaze seeing an object born out of a concept that exists in space. This project has truly taken this to a new level. These guitars are not just aesthetic art objects but functional technology; they are all playable guitars that Ian Malone helped make possible.
The guitar you’ve designed have clearly questioned the conventional shape of the instrument, its masculinity.
Yes, absolutely. During the design process, I discussed the profile of the types of users of these technologies with the BMW designers. We looked at who would be playing the guitars and how we should be designing with other bodies in mind other than the typical type who were determining the shape of things in the 60s, which would have been primarily white men. The musician St. Vincent recently designed a signature guitar that has a much narrower body to accommodate people with breasts. I asked our designers to consider ergonomics with all body shapes in mind.
Can you explain the performative side when these aesthetic objects neatly lining the wall are played?
We’ve invited three diverse musicians to perform at 3 pm each day, giving them carte blanche to do what they want and choose the guitar they like. It’s been fascinating to see which ones they go for. Luckily no two have gone for the same guitar.
’63/22′ interrogates the politics of sight and sound, what we are directed to see and allowed to hear, and how this manifests itself in invisible voices. What were you hoping to achieve with the project?
I strongly believe in the importance of modelling possibilities. So, when I think about this moment in 1963, where these industries overlap, I look at this as a demonstration of what is possible when conversations are allowed to overlap in a very direct way. I’m looking at the moment when ideas collide.
Given that general guitar design hasn’t changed so much in the last 60 years, by recreating and almost staging the scene in this context, we can shine a light on the possibilities of change.
The shapes and forms of technologies were largely determined by the biases of people designing them. As political and cultural landscapes change, those biases also shift. Where are we now? Why are we sticking to what came before? We can still change things. Nothing is set in stone. In the essay Technology and Ethos, Amiri Baraka, writing as LeRoi Jones at the time, has a great line: Nothing has to look or sound the way that it does.
The 19th edition of Frieze London takes place from October 12-16, 2022.
I write a lot on design in the framework of the luxury landscape. And it’s becoming increasingly difficult to not only define its meaning, since the word is so overused by brands and marketeers and the rest, but also to discuss the concept away from its old obvious, exclusive, selfish self.
If the luxury of the past was concerned with ownership and price, if it was solely about valuing luxury in monetary terms, then perhaps the luxury of now and in a better future we are hoping to carve from the mess of today, has to be the very opposite, have meaning and invite inclusivity. This is a great time in the story of luxury: we have the opportunity to redefine it in terms of the values of the self, the collective self and our planet.
In my latest designer interview, I asked Felix Kilbertus, head of exterior design at Rolls-Royce, to guide me through the new Phantom, a car that sits pretty much at the Christmas tree top of motoring, and help shed light on innovations within the new luxury landscape.
VOICES is a new publication dedicated to the world of wine, and I’ve been involved in helping form its editorial direction on behalf of Spinach Branding. This has been an extremely exciting adventure, in both subject and the people I’ve had the pleasure of encountering along the journey.
Our client is Maze Row, a new brand in the fine wine scene. The importer and exporter of fine wines represents a select group of artisan producers who craft wines that are made with passion, are kind to the environment and speak of a time and place to epitomise terroir.
VOICES is a print publication and digital platform created to foster their work and share their stories. It is also a place, a space, for exploring and sharing the best in wine and wine culture.
We’re building a community who share a real passion for drinking and dining, who are excited by the people and places that help bring wine to life, and for the arts and ideas that share this vision.
Ours is an inclusive community of wine makers and connoisseurs, world writers, bold thinkers and creatives who are excited by the wider story of wine. By this we are referring to the more expansive narrative of what it means to devote a life to wine.
What I’ve come to realise is that wine is a symbol of so much more than just a drink. Away from the factory-made mass products, fine wine, in the context we cover in VOICES, is a celebration of life. It is a distillation of what it means to be human.
And at the core of our concept is to encourage diverse storytelling, multiple viewpoints. After all, inviting different voices is to be not only inclusive but also expansive and enriching.
Our guiding philosophy is: In wine, we find life. And we really do mean it.
Why not browse through VOICES and contact me if you have an interesting story to tell.
The imagined future of the automobile was once exhilarating. It involved Jean Bugatti’s Type 57SC Atlantic, conceived in 1936 and to this day a work of art on wheels. The future was Wifredo Ricart’s 1952 Pegaso Z-102 Cúpula and Franco Scaglione’s 1954 Alfa Romeo BAT Car 7 for Bertone. Most daring of all, the future could have belonged to a world where the architect and theorist Buckminster Fuller, together with yacht designer Starling Burgess, imagined the painfully cool and to this day avant-garde 1933 Dymaxion.
These motor cars explore inventive aerodynamic shapes, they are nautical-informed feline beauties, have curvaceous, luxurious, customised bodies, and are inspired by science and the space age and rockets. They represent extraordinary ingenuity; many are lyrical designs, immersed in meaning. Their designers were looking to the future, and the automobile’s prospect was bright and exciting, bursting with optimism.
Crucially, all this creative work didn’t happen in car design studio isolation. Rather, automobile design lived within an expansive narrative arc that involved art and architecture, urbanism, critical theory, philosophy and intellectual discourse. The car was seen as a vehicle for progress, not just for profit.
‘Motion. Autos, Art, Architecture’ (8 April to 18 September 2022) firmly places the automobile in this context. And by doing so, is a timely show to enliven discussions around the future of motor cars as we edge towards the post-combustion age. Or at least I hopes so. Curated by the architect Norman Foster at the Guggenheim Museum Bilbao, the exhibition is a spirited celebration of the artistic dimension of the automobile — visually and culturally linking it to parallel worlds of painting and sculpture, architecture, photography and film. And it is a thoroughly beautiful show.
See why Norman Foster believes looking at the work and ideas of these visionary creatives will help navigate a better future. Read my full article here.