Nike Flyknit Racer “Be True”

In yet another installment of the brand’s progressive “Be True” line, Nike releases the Flyknit Racer in a special colorway. 2016’s LGBT Pride month celebrations saw the Nike Air Max Zero release in a similar scheme. This time, the Racer is the model of choice, taking on specific aesthetic hints.

A multi colored Swoosh sits robustly on a White/ Black Flyknit upper. A closer look reveals more subtle pieces of color way on the upper’s base, bordering the Swoosh. As with previous “Be True” iterations, contrast is the order of the day here as a relatively nondescript base on the upper really brings out the multi colored aspects. As an additional touch, we also see a “BE TRUE” script on the tongue.

The technical aspects here remain the same, of course. In any case, this isn’t a release that is looking to break any standards in that department. Rather, it’s a continuance of Nike’s pro-LGBT rights stance, expressed via an eye-catching and solid colorway.

Release Date 1/6/2017

Documenta 14


Even today, in a supersaturated calendar of worldwide art events, no show matters more than Documenta, a colossal German exhibition of contemporary art, reinvented every five or so years as a “museum of 100 days.”

A piece by the Mexican artist Guillermo Galindo at Documenta 14 in Athens.CreditEirini Vourloumis for The New York Times


Of 13 editions so far, two have become touchstones in recent art history: the freewheeling fifth edition, curated by the Swiss Harald Szeemann in 1972, which equalized painting and sculpture with conceptual art and happenings; and the erudite 11th edition, organized by the Nigerian Okwui Enwezor in 2002, which propounded a global art ecosystem with Europe no longer at the center. But every Documenta, since the first in 1955, has served as a manifesto about art’s current relevance and direction, and every one has taken place in Kassel, an unlovely town north of Frankfurt destroyed by Allied bombs in World War II.


Naeem Mohaiemen’s “Tripoli Cancelled” installation. CreditMathias Völzke


Until this year. The 14th edition of Documenta, led by the 46-year-old Polish curator Adam Szymczyk, is being shared by Kassel and Athens, a city with intertwined crises of finance and migration, and the capital of a country whose recent relations with Germany have been anything but collaborative. Mr. Szymczyk and the bulk of his curatorial team have been living in Greece for years, and the Athenian half of this two-city show opened on Saturday, in the presence of the presidents of both countries. The local welcome has been skeptical. The German news media, too, has looked askance at Documenta’s expansion into the capital of what some still offensively call a schuldenland, or debtor country.

A full reckoning will have to wait until June, when the show’s second half opens in Kassel. This much I can say now: If the exhibition falls short (far short, in places) of the great editions of 1972 and 2002, Mr. Szymczyk’s decision to uproot Documenta was the right one. This Hellenized Documenta is sometimes forceful, often obscure, and in places exhaustingly proud of itself. Parts reminded me of the apartment rental app Airbnb, which allows young cosmopolitans to “go local” on the cheap. And yet the show’s most important themes — migration, debt, fraying European unity and the historical antecedents of today’s populism and intolerance — are ones Athenians have reckoned with for years. Now that those troubles span the world, Greece may be the best place to come to grips with them.

“Music Room” by Nevin Aladag. CreditEirini Vourloumis for The New York Times


There’s art by nearly 160 participants, almost all of whom will also show work in Kassel. For every familiar name, such as the American painters Vija Celmins, R. H. Quaytman and Stanley Whitney, there are 10 you’ve never heard of, often for good reason. (Albanian socialist realism, weirdly, gets a major day in the sun.) It sprawls across 40 sites, as far afield as the port of Piraeus, though its most important is probably the new National Museum of Contemporary Art, or EMST, in an elegantly converted former brewery vacant for years. The accompanying bureaucratic and financial headaches are not incidental for Mr. Szymczyk, who opted to work with public institutions rather than Athens’s cash-flush private museums. A fair chunk of Documenta’s 37 million euro budget (about $40 million) has gone into nearly bankrupt Greek art organizations, which you can think of as an artsy stand-in for the eurozone transfer payments that Germany continues to resist.

Standout works at EMST include “Tripoli Canceled,” a polished film by the New York-based artist Naeem Mohaiemen, set on an old 747 parked at the crumbling Hellenikon Airport in Athens. The pilot goes through the motions of announcing flight time, but never takes off; like the myriad migrants here whose movements are blocked by European Union regulations, this plane is stuck in Greece. A languorous video, by the British artists Rosalind Nashashibi and Lucy Skaer, revisits sites painted by Paul Gauguin in Tahiti, but the women they film rarely return their gaze. This honest, knowingly partial film is a model of how to depict other cultures ethically, and how not to shy away from the risks entailed.

Adam Szymczyk Source: and