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IN 9
9-second culture drops — fresh news with fast context
We track what’s moving now across Art, Music, Film, Life, and Performance — releases, premieres, announcements, and scene shifts that shape the week. Then we distill it into quick, watch-first drops in the MUSE voice, nine seconds flat.
Watch The Latest IN 9 →
IN 9: Fondazione Dries Van Noten — Craft, Creativity, and a Venetian Palazzo
Dries Van Noten is turning a historic Venetian palazzo into a new space for making. Fondazione Dries Van Noten will open in April 2026 inside Palazzo Pisani Moretta, a 15th-century building on the Grand Canal, between the Rialto Bridge and Ca’ Foscari.
The foundation is conceived as a place where craftsmanship is treated as its own language — a way cultures express identity through material, gesture, and time. It will bring together established and emerging voices across art, design, fashion, architecture, food, and other disciplines, encouraging cross-pollination between practices and connecting local talent with global perspectives.
Within the palazzo’s frescoed rooms and restored historic interiors, the Fondazione plans curated programs and activities that open these spaces to the public and extend the building’s legacy into the present.
Official site: Fondazione Dries Van Noten
IN 9: Detox Gallery — “I Grieve Different” Opens in Chelsea
Detox Gallery is opening a new month-long exhibition in Chelsea that puts grief on the wall — not as a single story, but as many. “I Grieve Different” brings together 18 multidisciplinary artists from the U.S. and abroad to explore loss, memory, identity, and resilience across painting, photography, sculpture, textiles, mixed media, and digital work.
The show opens December 11 at 529 Arts in Chelsea and runs through January 10, 2026. Detox Gallery is also hosting community programming throughout the month — including soundbath meditation, yoga and journaling, and a 2026 vision-boarding session — creating space for reflection and connection around the work.
Opening reception: Dec. 11, 6–9 PM
Exhibition dates: Dec. 11, 2025 – Jan. 10, 2026
Location: 529 Arts, Chelsea, NYC
RSVP + event details: luma.com/detoxgallery
IN 9: Whiplash in Concert Brings Live Jazz to Miami
Whiplash is coming back to the screen — with the music live. Whiplash in Concert hits Miami as part of the 2026 Miami Film Festival, pairing a full screening of Damien Chazelle’s Oscar-winning film with an 18-piece jazz big band performing the score in sync. Justin Hurwitz conducts, with drummer Greyson Nekrutman featured for the film’s signature live-solo energy. The show lands April 15, 2026 at 7:30 PM at Knight Concert Hall (Adrienne Arsht Center). Tickets are on sale now.
IN 9: Assouline Drops the First Emily in Paris Fashion Guide
Assouline just turned Emily in Paris into a fashion coffee-table moment. Out today, Emily in Paris: The Fashion Guide is the first official style archive from the series, curated by costume designer Marylin Fitoussi — the mind behind Emily Cooper’s maximalist, meme-ready wardrobe and the show’s viral color-clash magic.
The book pulls back the curtain on how those looks get built: Fitoussi’s favorite outfits, behind-the-scenes references, mood boards, sketches, and the styling logic that makes clothing feel like part of the story. It lands right on time for the Season 5 premiere on Dec. 18, serving as a runway recap for the show’s evolution so far.
If you’ve ever paused to catch a look, saved an outfit, or tuned in for the style — this one’s for you.
IN 9: Sydney Irving Welcomes 2026 with “Something Better”
Sydney Irving is stepping into 2026 with a clear mood: forward. Her new music video “Something Better” lands as a hopeful reset anthem for her own generation — a song built for the turn of the year and the belief that what’s next can be kinder.
Though it arrives in winter, Irving says it wasn’t written for Christmas in particular. It’s about the incoming new year: the reset, the momentum, the choice to look ahead with optimism. Co-written with friend and co-producer Steve Sopchak, this release is the definitive version after years of performing it live.
“Something Better” is the third visual from Irving’s album Unfashioned Creatures (DEKO Entertainment / Warner Music Group ADA). At 22, she’s moving from a Central New York rise to a wider stage, now backed by her touring band, The Creatures, with showcase performances starting January 2026.
Go deeper: Sydney Irving EPK 2025 →
Interviews
Kindred creators in motion.
Cinematic multimedia conversations with artists, musicians, makers, and creative thinkers — their perspectives revealed through atmosphere, image, and quiet attention.
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ELLY CHO - Interview
Award-Winning Visual Artist & Filmmaker
Exploring the intersection of nature, environment, and human behavior across painting, film, and performance.
In this conversation:
How volcanic Jeju landscapes shaped her ecological imagination
Why pigment, salt, and breath feel like living archives
Where AI belongs — not as simulation, but as dialogue with nature
How memory and research co-compose her visual worlds
“The porous rock, shifting wind patterns, and seasonal changes — alongside the contrast between urban Seoul and Jeju’s elemental nature — left a strong imprint on how I understand memory.”
Watch / Read the Interview →
Land holds memory. The body listens.
“The porous rock, shifting wind patterns, and seasonal changes — alongside the stark contrast between urban Seoul and Jeju’s elemental nature — left a strong imprint on how I understand memory.”
1. What early landscape or memory first shaped your way of seeing — and how does it continue to shape your ecological approach today?
I grew up moving between Seoul and various natural landscapes, but I was especially affected by the raw materiality of Jeju Island’s volcanic terrain. The porous rock, shifting wind patterns, and seasonal changes — alongside the stark contrast between urban Seoul and Jeju’s elemental nature — left a strong imprint on how I understand memory. For me, memory is not something stored, but something held in the body and land, expressed through material, movement, and visual narrative.
That early experience taught me to listen through texture, silence, and repetition — a way of seeing that continues to guide how I approach ecological fieldwork today.
“What’s most alive for me now is the possibility of working across these worlds — human, nonhuman, and algorithmic — to explore how memory, sensation, and intelligence might be reimagined together.”
2. Your work spans desert systems, coastal environments, pigment processes, and AI-generated imagery. What draws these worlds together for you?
I’m drawn to materials that carry memory — pigment, salt, breath — elements that feel alive and responsive. These landscapes, whether desert or coastal, feel like thresholds: they echo the body’s own cycles of erosion, rhythm, and transformation. I often approach these places as sensorial collaborators — spaces that move and hold memory in ways that go beyond language.
My previous film Climate Hybrids explored speculative ecosystems shaped by water, migration, and adaptation. That project deepened my interest in ecological storytelling through movement, mythology, and evolving species. In Desert Futures, I continue this thread by shifting focus to the desert — not as barren, but as a site of reimagination, where ecological time, human gesture, and machine perception begin to entangle.
Rather than separating technology and nature, I’m interested in how they might reflect each other. AI in my work doesn’t aim to simulate nature, but to echo it — to listen, respond, and perhaps absorb its rhythms. These connections are still evolving. What’s most alive for me now is the possibility of working across these worlds — human, nonhuman, and algorithmic — to explore how memory, sensation, and intelligence might be reimagined together.
“The choreography was born from both emotional memory and environmental tension — particularly the internal contradictions of being between fantasy and reality.”
3. How do you experience the relationship between ecological research and personal memory when you’re creating?
For me, ecological research is not just external — it becomes deeply embodied and personal. When I begin a project, I don’t separate scientific exploration from lived experience. I enter the landscape through touch, movement, and observation. The way pigment shifts in salt air, or how breath echoes in a cavernous space — these sensory cues often unlock memory.
In my work, personal memory doesn’t stay in the background — it becomes material. A gesture from childhood, a visual from a recurring dream, or the shape of breath under water might resurface and form the seed of a scene. In my silent film sum(Island), I explored themes of isolation and self-discovery through movement, drawing from my experiences living on islands like Jeju, Manhattan, and London. The choreography was born from both emotional memory and environmental tension — particularly the internal contradictions of being between fantasy and reality.
This process continued in Climate Hybrids, where I used AI and choreography to reimagine evolutionary futures. Though rooted in scientific dialogue about adaptation and climate change, the film was shaped by my bodily memory and cultural imagination. The dancers’ movements embodied hybrid species, but also mirrored psychological states, ancestral echoes, and speculative longing.
So for me, ecological research and memory co-create one another. Memory brings intimacy to data, and research lends form to memory. Together, they shape how I build visual worlds — fragmented, rhythmic, and responsive to the emotional life of both land and body.
“It’s not about simulating nature, but creating dialogues between material intelligence and digital perception — a space where pigments and code both carry memory.”
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