What’s Happening: In his first solo show in the United States, the São Paulo-based artist maps out how his home country sees—and tries not to see—itself.

The Download: In 2013, after years of studying other Brazilian artists including Lygia Clark and Hélio Oiticica at the University Center of Fine Arts at São Paulo and then co-founding Art Alley, an independent art space in the city, Jaime Lauriano did a residency in Vila Anglo Brasileira, a fairly isolated neighborhood between two rapidly gentrifying areas. He installed a plaque at the top of his building’s staircase, referencing the historical bronze signs around the city asserting historical significance. Lauriano’s plaque read History Ends in Me. The phrase perhaps signifies the multiplicity of his concerns, able to be read as both acknowledgment that he carries legacies within him and those legacies may be terminated, their certainties interrogated, by him.

For “Why Don’t You Know About Western Remains?,” his new show at New York’s Nara Roesler gallery, Lauriano has gathered ten works that deploy other media towards similar ends. Some are direct historical interventions. Invasão de Pedro Álvares Cabral em Porto Seguro em 1500, for example, recreates Oscar Pereira da Silva’s famed painting. Where da Silva depicted the arrival of Portuguese colonizers in heroic terms, Lauriano offers their erasure, swapping the settlers for populist stickers calling for resistance. The conflict spills off the canvas, as toy soldiers fight Afro-Brazilian spiritual figures. For Lauriano, the frame is a battleground.

Stickers also interrupt the meaning-making of Brazilian newspapers, maps, and murals, at once acknowledging and annotating how a country tells itself who it was and will be. His sculpture Padrão dos Descobrimentos delicately casts the Portuguese monument to its empire in ammunition cartridges culled from Brazilian armed conflicts, fusing the violence of history and its contemporary kin. “This exhibition exists,” says curator Igor Simões, “precisely because you don’t want to know about the garbage that is both the trace and the ballast of the experience of a continent founded on colonization.” Now you know.

In Their Own Words: “It’s very important to observe how Brazilian society doesn’t consider itself violent, since it’s associated with things like the Carnival, soccer, street parties, as a way of declaring we’re a happy country, living in harmony, without bigotry or violence,” Lauriano said in 2019. “On the one hand, that is true, but it’s also a lie… these aspects hide police brutality, vigilantism, and lynchings. There are contradictions between the image constructed and the reality produced present in our way of pondering violence and history.” These contradictions are unflinchingly embodied in Dançando na chuva (2023) in which he threads together Yoruba mythology and the 1952 film Singin’ in the Rain with the story of Rio military police murdering Rodrigo Alexandre da Silva Serrano after mistaking his umbrella for a gun.

Surface Says: Lauriano’s show is a revelatory—if less revelrous—alternative for those who can’t make it to Carnival.

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As the latest arrival in Louis Kamper’s landmark Book Tower—transformed by Bedrock into a quintet of food and drink tenants, a Roost Apartment Hotel, and parcel of private apartments—Hiroki-San enlivens a 4,100-square-foot space on the lower level. Shoji screens and ceilings defined by hand-hewn cypress beams freshen up walls clad in the building’s original plaster. The refined omakase experience unfolds at the intimate arrangements of 108 seats, with a dozen at the chef’s counter and 16 in a private room. Diners interested in a casual meal might try Sakazuki, the anime-themed spot upstairs, where Method Co.’s creative beverage directors Natasha David and Jeremy Oertel sling sake and Sailor Moons (Riku gin, lemon juice, Sakura, lychee) with sandos and yoshoku.

Executive chef Hiroki Fujiyama trained under Iron Chef Masaharu Morimoto before opening Philly standby Hiroki. For his new Motor City location, he devised a menu mixing traditional and modern Japanese cuisine: wagyu from the Miyazaki prefecture, Binchotan charcoal-grilled skewers, and curry katsu. The ample whiskey and sake programs are joined by a thorough selection of reimagined Japanese cocktails. The Bamboo Cutter blends umeshu, chilled jasmine tea, and peach, while the Shinkai fuels up with gin, lillet blanc, yuzu sake, lemon juice, and yellow chartreuse.

For its fourth collaboration with the National Trust, the British paint and wallpaper brand Little Greene looked through four centuries of historic interiors and returned with a collection of eight wallpapers in 42 colorways. Highlights include early 19th-century Capricorn, a hand-painted reproduction of panels depicting monkeys and birds mid-frolic within sumptuous plant life, and Bamboo Floral, a repeating pattern of fragments of late 18th-century Chinese wallpaper sourced from Dorset’s Kingston Lacy Estate. An attic in Norfolk’s Felbrigg Hall produced another standout, the deceptively simple Ditsy Block, originally woodblock-printed with painted braiding and now surface-printed to hypnotic effect.

“The wallpaper patterns we’re drawn to are very much a matter of personal taste,” says creative director Ruth Mottershead. “The stunning Aderyn design, which features beautifully drawn birds and trailing Magnolia and Peony flowers and dates back to 1770, is equally at home in both traditional and modern settings.” Speaking of modern, Little Greene is looking ahead: it offers a contribution from each roll sold to the National Trust’s ongoing conversation work.

For F/W 2024, the New York designer offers pared-back simplicity with body-skimming double-faced outerwear, gauzy wool dresses and capes, and a midcentury mood board to match with an element of timeless appeal courtesy of archival Lee Radziwill photographs, the abstract expressionist paintings of Cecily Brown, and Piero Portaluppi’s architecture.

Three words to describe the collection: Tactile. Demure. Swaddled.

Which look is your favorite? I wear a lot of tailoring. Personally, it’s my uniform. I really love a Basque Blazer for day-to-day. And I love the execution of that, making it, start to finish.

What was your inspiration? I always start from where I am personally, rather than my designer friends. We shot it in the atelier, first of all, and I was thinking about the conceptualization of ideas. Where they happen from and the full evolution, start to finish. I wanted to shoot it where everything happens. Then it was also looking at the body of work from the past, and seeing how these design pillars hold up today.

Attending any parties or events this week? The CFDA party was Thursday night. I’m going to the Moda Operandi cocktail. My friend, the designer Peter Som, his Lunar New Year party. Then I start market this weekend and when I go into market I start hibernating from outings.

Why do you choose to show as part of NYFW? The brand’s nascence was here and we’ve been here for 16, 17 years. We have so much culture from everywhere, it’s a big melting pot of people. It’s not just an American city. It’s such a part of who I am and the base of our brand. We were built here.

It’s no secret that Seth Rogen loves weed—and ceramics. Not only did the actor co-found the lifestyle brand Houseplant to bring thoughtfully designed cannabis accessories to the masses, but he also got seriously into pottery during the pandemic. He’s now co-hosting a reality competition television show that proves his affinity for the fine arts is no pastime. “The Great Canadian Pottery Throw Down” pits amateur potters against each other in weekly challenges to prove their skills and techniques, much like “The Great British Baking Show.” While there’s sure to be drama, Rogen didn’t let it get to his head. According to co-host Jennifer Roberts, he worked on his own pieces in between takes and even used a blowtorch to dry them.

In other people news, the Hirshhorn Museum and Sculpture Garden announced that Estrellita B. Brodsky was elected as chair of its board of trustees, succeeding Dan Sallick. Topical Cream revealed that Ebony L. Haynes, a senior director at David Zwirner and the visionary behind 52 Walker, was named its 2024 editor-in-residence. Courtney J. Martin is joining the Robert Rauschenberg Foundation as executive director in the spring; she’ll be tasked with furthering its catalogue raisonné project and organizing centennial celebrations for 2025. Marybeth Shaw, the chief creative officer of Wolf-Gordon, was honored with this year’s Justin P. Allman Award from the Wallcoverings Association, its highest honor.

Last week, the Juilliard School’s annual scholarship benefit kicked off with a 75-minute concert in which students and Greene Fellows as young as eight years old wowed a packed Peter Jay Sharp theater with works spanning music, dance, and drama. The school’s president, Damian Woetzel, opened the evening on behalf of Adam Driver and Joanne Tucker, actors and Juilliard alumni, reading a speech prepared before the couple fell ill with Covid-19. Following the performance, attendees decamped to Alice Tully Hall for bites by Kwame Onwuachi’s restaurant Tatiana and performances by Endea Owens and The Cookout as well as Nathalie Joachim.

Holly Hunt offers exquisite and highly customizable pieces for residential and commercial properties. Founded in 1983 by Holly Hunt, the Chicago-based brand pioneered a new style of luxury interiors with an elegant, streamlined aesthetic and timeless color palette, drawing both residential and commercial design trade seeking distinctive and custom pieces.

Surface Says: Holly Hunt’s discerning selection streamlines the process of outfitting interiors with modern, designer pieces from ceiling to floor.

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