The Hustler DIY kit car was designed in the 1970s by William Towns (who also created the Aston Martin Lagonda). However, fewer than 400 were ever built, and most were constructed in fibreglass. Retired woodwork teacher and former Rolls-Royce engineer John Brazier turned to a more familiar material when creating his six-wheeler. He made the body and its interiors out of wood, right down to the steering wheel and gear knobs.

‘It’s like something from Thunderbirds’, says auctioneer Andrew Stowe, who’s handling the sale of the unique automobile at Auctioneum’s fine art, antiques and classic cars sale in Bath on 1 September 2023.

The Guardian says its huge glass windows and buggy-like frame means locals nickname it ‘The Popemobile’.

Brazier, who worked on the supersonic jet plane Concorde in the 1960s, built the car with water-resistant ash plywood and has a 1.3l Austin Allegro engine under the bonnet, Mini wheel subframes and seats for eight people. He completed the car in 1988, using it as the family car for 13 years and telling the newspaper it can do ‘well over 60mph’.

The Hustler is expected to fetch between £2,000-£3,000  at auction and guarantees to be a conversation piece for whoever buys it.

[Via Guardian]

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The medieval Avignon landmark is the largest gothic palace in the world and hosts its annual ‘Great Exhibition’ every summer. For this year’s edition, Parisian artist Jospin brings her whimsical and elaborate cardboard sets and sculptures to several of the palace’s historic spaces, including its vaulted chapel.

Using cardboard, Jospin crafts detailed architectural sculptures and immersive sets that explore the connection between the natural and built environments. Within her works, gothic towers, arches, and columns blend with cardboard-created geological formations, caves, and vines. The simplicity of the material adds to its charm.

‘We are in a stone chapel, we know that these stones have been extracted from a quarry, we know where it comes from,’ Jospin told French public broadcaster France Info. ‘It’s the same for cardboard, which is rare today in the world that “we consume.”‘

Jospin plays with this idea of ‘knowing’ by revealing the sculptures’ material and experimenting with its form within the 12 artworks, many of which were created especially for the exhibition.

In the Grande Chapelle’s grand vault, ‘Côté Cour, Côté Jardin’ offers a peek ‘behind the scenes’ of theatrical set design. In French theatre, ‘Côté cour’ means the right side of the stage, while ‘Côté jardin’ means the left. This concept is embodied in the sculpture, featuring a scenographic layout upfront and a cave-like landscape of interlocking cardboard rocks and branches at the rear, nodding to the backstage work.

Also on show are Jospin’s intricate and elaborate embroidered panels, developed as runway backdrops for Christian Dior’s F/W21/22 shows. At 30 metres in length, ‘Une Chambre à Soie’ adorns the walls and ceiling of the Grand Tinel and harks back to the great medieval European embroidery traditions, reinterpreted as vegetable and mineral motifs.

Jospin’s having a busy summer: in addition to her Great Exhibition in Avignon, she also has a solo show running at Galleria Continua’s San Gimignano space in Tuscany.

The Great Exhibition: Eva Jospin is a ticketed event running at Palais des Papes until 7 January 2024.

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According to the Evening Standard, the major art museum is eying up a vast 1920s building opposite Marble Arch as the potential site for its third European gallery. Moco specialises in modern and contemporary artworks, showcasing works by the likes of Banksy, Tracey Emin, Andy Warhol, Yayoi Kusama and Damien Hirst.

Oxford Street has struggled with vacant stores in recent years. Topshop’s colossal 100,000 sq ft Oxford Circus flagship store closed in 2021 following the implosion of the Arcadia Group – the space will reopen to the public this autumn as IKEA Oxford Street – and the pandemic shuttered many retailers. Another significant departure was the House of Fraser in January 2022, after 100 years at its Oxford Street site.

Still, research from property specialist BNP Paribas Real Estate published in January 2021 revealed over 72,000 pedestrians visit Oxford Street on a typical day – a figure that’s likely to have swelled significantly as commuters and tourists return to their pre-pandemic habits.

Planning permission would need to be granted to transform the 1920s jewel at 1-4 Marble Arch and 1 Great Cumberland Place for its new role as an art gallery. However, Moco argues the opening would ‘complement’ the popular Frameless Immersive Art experience at nearby 6 Marble Arch, plus the Serpentine Galleries, Wallace Collection and Photographer’s Gallery. In 2020, work began redeveloping the building, which is located at the top of Oxford Street, as offices and stores.

Moco London would join the existing Moco Museum Amsterdam and Moco Barcelona (whose pink-hued concept store opened earlier this year.) Watch this space.

[h/t Evening Standard]

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Manousakis was drawn to the space not long after relocating from New York to take over the family wine business in the village of Vatolakkos. Several years later, she set her gaze on the 1950s Chania building and was able to convert it into a studio and gallery, as well as a brasserie.

She kept Maiami’s existing art deco-inspired features, including its salmon pink doorway and windows, and brought in some additional colour in the form of bright blue chairs and a sage green fireplace. White shelves display her ceramics, which are also painted in vibrant shades and patterns.

Maiami’s menu blends its culinary influences, although there’s plenty of classic Mediterranean fare: fresh Greek cheeses, olive oil-doused salads, super fresh vegetables, cold-cut deli meats and pasta. All are served on tableware created by Manousakis.

Akti Miaouli, Mesologgiou &, Chania 731 32, Greece

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Marking the collective’s 20th anniversary, UVA: Synchronicity will take over the subterranean spaces of 180 Studios, featuring eight new, large-scale immersive works and sensory-heightening premieres that challenge our perception of reality.

At the heart of the exhibition will be a brand new audiovisual installation that explores the relationship between humans and animals, featuring a mesmerising soundscape created by legendary bioacoustician Bernie Krause. The previous collaboration between UVA and Krause yielded The Great Animal Orchestra, a captivating, iconic work that documents the effects of climate change and has consistently drawn huge audiences around the world.

Synchronicity also includes a site-specific reiteration of Our Time, a multi-sensory environment that explores our perception of time, previously created specifically for 180 The Strand with a score by the late electronic musician Mira Calix, as well as newly created iterations of Vanishing Point and Topologies.

UVA: Synchronicity will run from 12 October – 17 December 2023 at 180 Studios, 180 The Strand, London, WC2R 1EA. Tickets are available to book online

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Ambient light and sound converge at London’s Paul Stolper Gallery with the dazzling, ambient show Brian Eno/Dan Flavin.

Exploring the relationship between light, space and sound, the show pairs Eno’s music with Flavin’s evocative light sculptures.

Flavin is known for his minimalist sculptures and installations, using fluorescent light tubes to explore the interplay of light, colour, and space. Several of his untitled assemblages –Untitled (to Barbara Nüsse), 1971, Untitled (for Ad Reinhardt) 2e, 1990, and Untitled (for Eric Zetterquist) 1, 1990 – are on show alongside Eno’s glowing Sharp Soft lightbox series and Ovation floor lights.

Of particular note is Eno’s 2021 sound sculpture, ‘Filopendula’ – a set of speakers designed to look like flowers in a vase.

‘I’ve always loved loudspeakers, just as things,’ Eno says.  ‘Before I joined Roxy Music and when I was in the band in the beginning, I used to buy up old loudspeakers and make new cabinets out of them. I loved seeing how I could change the sound by making the cabinet a different shape.’

‘I thought, why don’t we make speakers like a little event, they’re like flowers. And the sound in ‘Filopendula’ like early versions I made is very distant.’

‘Brian Eno/Dan Flavin’ runs until 25 August 2023 at 31 Museum Street, London 

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Mumbai’s Nita Mukesh Ambani Centre is hosting an exhibition of TOILETPAPER’s vivid, dreamlike world – with surrealist works that question everything from the food we eat to the spaces we inhabit.

The show is as luridly weird as you’d expect from the cult magazine, which was set up in 2010 by Maurizio Cattelan and Pierpaolo Ferrari and has gradually grown to become a studio in its own right.

Named Run As Slow As You Can, the exhibition is divided into four ‘chapters’, each offering their own experience. Chapter 1 tours visitors through huge versions of TOILETPAPER’s artworks, all featuring the usual bizarre juxtapositions of imagery the magazine is known and loved for.

Upstairs, in chapter 2, there are cloud-covered rooms, mirrors and visual illusions, and in chapter 3, there’s TOILETPAPER’s take on domestic life – which includes a banana-filled swimming pool and a bed covered in spaghetti-print duvet.

Finally, the show culminates in The Control Room, an all-red room filled with archival pieces from the studio’s Milan HQ.

Run as Slow as you can is on display until 22 October 2023

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Enigmatic artist Weirdcore has created a virtual interpretation of the show, curated by Fact and 180 Studios, using material filmed, scanned and reconstructed from the exhibition to create an inactive site. The site reinterprets all 16 works by Ryoichi Kurokawa, Caterina Barbieri, Actual Objects, United Visual Artists, GENER8ION (aka Romain Gavras and Surkin), Gaika, Tundra, Ben Kelly & Scanner, NONOTAK and object blue & Natalia Podgórska on the web, offering viewers to experience the show as a curated journey or self-guided experience.

Future Shock was initially staged within the subterranean, brutalist surrounds of London’s 180 Studios from April to August 2022. The show’s title was taken from American futurologist Alvin Toffler’s seminal 1970s book, Future Shock, which predicts the ‘shattering stress and disorientation’ caused by rapid technological developments and change.

Each artist responded to this idea, including Weirdcore, whose psychedelic installation offers a journey into the labyrinth of their subconscious, with a soundtrack by Aphex Twin – a surreal ‘choose your own adventure’ with multiple pathways. Meanwhile, Actual Objects created an interactive, mythical, post-climate-change vision of Los Angeles in Unreal Engine for its installation, ‘Bugwatchers’.

Visit the Future Shock website for the full virtual experience. It works best in Google Chrome.

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The free, drop-in listening experience encourages visitors to ‘surrendering to the act of listening’. Turnbull has crafted an absorptive carpet-lined listening room with a wall of neo-brutalist speakers, a turntable, amplifiers, and meditation seats.

‘Music is the most powerful art form,’ says Turnbull. ‘When we think about music venues, we have concert halls, jazz bars and nightclubs – and those are really cool ways of experiencing music – but a lot of the time the recorded music becomes the masterpiece.’

Turnbull, also known as OJAS, is described by GQ as ‘the man whose sound systems make you feel like you’re on psychedelics’ and spent years hand-building custom sound systems for clients ranging from SUPREME to Virgil Abloh and Brooklyn club Public Records – said to have the best sound in New York.

He first launched HiFi Listening Room Dream No.1 at Lisson’s New York space last summer as part of the group exhibition, The odds are good, the goods are odd. This London version is open until 26 August 2023.

Visitors can enjoy a curated programme of records inside Turnbull’s ‘shrine to music’, ranging from unreleased tracks to classic vinyl and analogue tapes, jazz maestros Blue Notes, to live performances. Lisson’s website has the full rundown.

Tuesday – Saturday, 11 am – 6 pm at 27 Bell Street, London NW1 5BY, UK

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The Same Thing Looks Different is Aitken’s first major institutional show and brings together her brutalist cast-concrete sculptures from 2016 alongside new commissions, including her first video work, ‘Lexicon!’, which examines geometric forms from various angles.

Aitken invites abstract contemplation via the materiality of her sculptures, which borrow architectonic forms from the urban context. Stacked or cantilevering geometric shapes feel both familiar and fantastical, dynamically changing when viewed from different angles but with a solid, constant steadiness that anchors them within the white-cube gallery space.

The show was four years in the making and debuts three new fibreglass pieces called ‘Altered Cylinders’. Like their concrete siblings, these new works take a regular form and abstract it in unexpected and ambiguous ways, interacting with the architectural fibre of the gallery, which was converted from a powerhouse and ice house for the Toronto Terminal Warehouse (now Queen’s Quay Terminal) in 1987 by Lett/Smith Architects.

Two site-specific works conceived for the show explore drawing and space, using wood to manipulate the perception of volume and negative space.

‘Jen Aitken: The Same Thing Looks Different’ runs until 4 September 2023 at 231 Queens Quay West, Toronto, Ontario M5J 2G8 Canada

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