Natasha Stagg

  • DIS’s Everything But The World, 2021. Photo: Cynthia Mai Ammann.
    diary November 30, 2021


    THE EXHIBITION “MIGHT FEEL A LITTLE LIKE A FUN HOUSE,” Lauren Boyle tells me at the Centre d’art Contemporain Genève. Boyle, alongside Marco Roso, David Toro, and Solomon Chase, is part of the collective DIS, which, with the Centre’s director, Andrea Bellini, has curated this year’s Biennale de l’Image de Mouvement, titled “A Goodbye Letter, A Love Call, A Wakeup Song” and billed as “an exit from our human-centered, capitalist death drive.”

    In preparation for it, each of the show’s three floors was divided into viewing rooms connected by dark, twisting halls. Visible from circular windows, these

  • Rachel Comey Fall/Winter 2020. Photo: Gus Powell.
    diary February 12, 2020

    Retail Therapy

    “WHAT I LOVE ABOUT RACHEL IS she has this alchemy,” said the former Olympic swimmer Casey Legler, by way of introduction to Rachel Comey’s Fall/Winter 2020 runway show on Thursday evening at the SoHo restaurant/showroom La Mercerie. “Her art form lends itself to people who not only do things, but do really powerful, impactful things.” She was referring primarily to the time her wife, Siri May, the United Nations program coordinator for the LGBT rights group OutRight Action International, wore a Comey dress at the UN Open Debate on Women, Peace, and Security, giving the New York label a diplomatic

  • Sceno by SFER IK in Tulum, Mexico.
    diary January 20, 2020

    Yes, Yes, Yes

    “THE MOST IMPORTANT THING is that this is a project with meaning, that we do something more than make money,” Roth is saying. He’s just Roth (born Eduardo Neira), founder of Roth Architecture and a self-described visionary. “The idea is to get out of the cave.” A reference, I think, to the tunnel vision inflicting our human race (“the human tribe”).

    We’re outside Roth’s sci-fi-set-meets-skate-park home near Tulum, Mexico. Chet Baker’s voice wafts over the water plants as we sit down in a concrete “nest,” surrounded by theme-park-like waterfalls to have lunch on latticed ceramic plates designed

  • Anicka Yi’s Biography fragrances, 2019. From left: Radical Hopelessness, Shigenobu Twilight, Beyond Skin.


    THE WORLDS of art and fashion depend on myth to qualify their products, the best example being the mythologizing that happens in fragrance branding. There are, of course, the epic ad campaigns. But the fantasy continues in a product’s “notes”—of citrus, lily of the valley, burnt sugar—which are more often synthetically produced than concentrates of the real things. Reviews trace triggered memories, describing fragrances in terms of experience—“like fireworks bursting against a black sky,” “like a piece of good news you can’t remember”—with such adjective constructions as “warm-woody,”

  • Natasha Stagg


    I wasn’t sure I’d love Daniel Clowes’s newest graphic novel, Patience (Fantagraphics)—its back cover declares it a “cosmic timewarp deathtrip to the primordial infinite of everlasting love,” and I usually can’t follow science fiction, especially when it concerns time travel. But Jack, Patience’s time-traveling narrator, doesn’t care for sci-fi either, which makes things easier. He is less nerd than stubborn romantic, excited about stumbling on a wrinkle in time only because it means he could save his love life.

    Clowes is a master of immediacy. Even without his elegant illustrations,