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      in Football

      Gallery Lures Soccer Fans to Tottenham Stadium for Art

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      A new gallery at the stadium of Tottenham Hotspur, a top London club, is presenting contemporary works to visitors, with mixed results.LONDON — Annie Lawrence, 8, was looking excited on Sunday afternoon. She was about to see Tottenham Hotspur, the soccer team she supports, play its first game of the English Premier League season — but her exhilaration wasn’t entirely because of the impending game.Lawrence was standing in OOF, a gallery dedicated to art about soccer that opened last month in a building attached to the club’s stadium gift shop. Some of the works on display seemed to be making her as happy as a Tottenham win.OOF’s opening show, “Balls” (until Nov. 21) features 17 pieces of contemporary art made using soccer balls, or representing them. There’s one made out of concrete, and another in silicon that looks like it’s covered in nipples.Pointing at a huge bronze of a deflated ball by Marcus Harvey, Lawrence said, “I’d like that one in my bedroom.” The artist said in a phone interview that the work might evoke anything from Britain’s decline as an imperial power to the end of childhood.Yet for Lawrence, its appeal was simpler: “It looks like you could sit in it, like a couch,” she said.Fans making their way to Tottenham Hotspur’s stadium on Sunday for the club’s first match of the English Premier League season.Alex Ingram for The New York TimesThe futuristic Tottenham Hotspur stadium viewed from a window of the gallery.Alex Ingram for The New York TimesAnnie Lawrence, 8, posing in front of one of her favorite works in the show: “Kipple #2” by Dominic Watson.Alex Ingram for The New York TimesLawrence then took her father upstairs and looked at a piece called “The Longest Ball in the World,” by the French artist Laurent Perbos. “It’s looks like a sausage!” she said, before grinning for photos in front of another piece that features a papier-mâché soccer ball rotating in a microwave.Not everyone was so enthusiastic about the works on display. Downstairs, Ron Iley, 71, looked at the ball covered in nipples by the Argentine artist Nicola Costantino. “Load of rubbish,” he said, then walked out.The worlds of art and soccer don’t necessarily mix. The most well-known recent work to combine both is a bust of Cristiano Ronaldo, the Portuguese player, that made headlines when it was unveiled in 2017 because it looked nothing like him. Other pieces, like Andy Warhol’s acrylic silk-screens of Pelé, are little more than simple tributes to great sportsmen.Eddy Frankel, an art critic who founded OOF with the gallerists Jennie and Justin Hammond, said he wanted to show that art about football, as soccer is known in Britain, can be exciting, complex and thought-provoking. “We’re using football to express ideas about society,” Frankel said. “If you want to talk about racism, bigotry, homophobia, or if you want to talk community and belief and passion: All of that, you can with football.”A visitor photographs Nicola Costantino’s “Male Nipples Soccer Ball, Chocolate and Peach.”Alex Ingram for The New York TimesFrankel said he used to keep his passion for soccer quiet in Britain’s art world, since “you can’t really get away with being into both.” That changed one night, in 2015, when he was at Sotheby’s to report on an auction of a monumental painting by Gerhard Richter, the German painter. The sale clashed with a game featuring Tottenham Hotspur, the club Frankel supports, so he started watching the match on his phone. Soon, about 15 people behind him were leaning over to get a view, he said.“I just went, ‘Oh, so there are people who care about football in the art world like I do,” Frankel said.In 2018 he launched OOF as a magazine that explored the intersection of his passions. “We thought we’d maybe get away with four issues,” he said. The biannual magazine is now on issue eight.Setting up an exhibition space seemed the logical next step, Frankel said, adding that he initially wanted to open it in a former kebab shop near Tottenham Hotspur’s stadium, which is in an area about eight miles north of London’s traditional gallery districts. But when he and his partners approached the local council for help, they suggested contacting the club instead, which offered a 19th century townhouse that sits incongruously outside the club’s futuristic stadium and is attached to its gift shop.Most of the works on display at OOF are for sale, with some pieces worth up to $120,000, yet the gallery has a much higher footfall than most commercial galleries. More than 60,000 fans come to the stadium on game days, and on Sunday, a few hundred spectators peeled off from the crowds for a look around, many dressed in Tottenham Hotspur’s uniform.OOF is located in a 19th-century townhouse owned by the club that can be reached via the stadium gift shop.Alex Ingram for The New York TimesOOF’s organisers: The art critic Eddy Frankel and the gallerists Jennie and Justin Hammond. “The Longest Ball in the World,” by Laurent Perbos, is on the floor in front of them.Alex Ingram for The New York TimesAbigail Lane’s “Self-Portrait as a Pheasant” is made from a football, bird wings, oil paint, painted wood and glass.Alex Ingram for The New York Times“We’re basically running a museum, without a museum budget,” Frankel said.A tongue-in-cheek sign at the entrance asks visitors not to kick the art, but not everyone had complied, Frankel said: On a recent visit, Ledley King, a former Tottenham Hotspur captain, had given “The Longest Ball in the World” a light boot.Pebros, the artist behind the work, laughed when told about the incident in a telephone interview. “Maybe he doesn’t go to many galleries, so he didn’t know,” he said.The current squad, including its famed striker Harry Kane, had not yet been to visit the gallery, Frankel said. The players were trying to keep social interactions to a minimum during the pandemic.“Obviously, we’re a commercial gallery so it’d be nice to sell some art,” Frankel said. “But the real success is if we can get loads of people through the door, and get them to engage in contemporary art, who normally wouldn’t,” he added.Many of the several hundred visitors on Sunday fit that bill. “We don’t go to galleries if we’re honest,” said Hannah Barnato, 27, there with her partner. “But it’s interesting. It’s different,” she said.Paul Deller’s “A Playground of Bubbleheads’,” a work the artist made in 2020 and 2021.Alex Ingram for The New York TimesSam Rabin, one of three guides in the gallery who talk the fans through the works, said that was a common reaction. “I’ve never heard the phrase, ‘It’s different,’ more than I have working here,” he said.But many visitors, especially children, showed a deep connection with the art on display, he said, adding that this proved soccer and art were not the separate worlds they might seem. “They’re both emotional experiences,” he said. “They’re both worthwhile experiences.” More

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      in Soccer

      Soccer Samples Streetwear and Likes the Fit

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      Juventus reimagined its look, P.S.G. partnered with Jordan Brand, and now Arsenal and Inter Milan are following suit. But soccer’s interest in design has little to do with the sport.The lights at the Allianz Stadium cut out, and the music swelled. In the darkness, a small patch in the middle of the field seemed to glow. The center circle started to pulse and ripple. And then the grass itself appeared to get pulled away, as if it were nothing more than a tablecloth. Three words ran around the electronic advertising boards: “History. Passion. Lols.”The extravagant buildup did not seem to match the occasion. Juventus was at home to Genoa that night, a run-of-the-mill Serie A game. It was late October 2019, much too early in the season for the title to be decided or a trophy to be won. What mattered, though, was not what Juventus was playing for, but what the team was playing in.That night, Cristiano Ronaldo and his teammates would showcase a special edition jersey, designed in collaboration with its apparel partner, Adidas, and Palace, the maverick British skate and streetwear brand.The design toyed with the history and passion of Juventus, incorporating the team’s traditional bianconero stripes and the disruptive touches that had made Palace a streetwear phenomenon. The team’s logos and the player’s numbers were displayed in an acidic green. Toward the bottom, the stripes started to pixelate.The jersey was greeted as a masterpiece, but Juventus would never wear it again. By the time Ronaldo and his teammates took to the field against Torino a few days later, they were back in their regular uniforms. It did not matter. Later that week, the Palace jersey came online — or, as the streetwear world would put it, dropped.It sold out in 12 hours.Soccer goes popP.S.G. and Jordan Brand released their first collaboration in 2018.Franck Fife/Agence France-Presse — Getty ImagesA couple of years earlier, Juventus had held a lavish reception at the Museum of Science and Technology in Milan. The guest list included players past and present, but also pop-culture fixtures like Giorgio Moroder, the pioneering music producer, and the model and actress Emily Ratajkowski.The party was arranged to herald the dawn of a new era for the club. Its team was in the middle of an unmatched period of success on the field, establishing a run of dominance in Serie A, however, it risked being left behind by its Continental rivals. To remain competitive, it needed to close the revenue gap on clubs like Barcelona, Real Madrid and Manchester United, its chairman, Andrea Agnelli said. To do that, he was convinced, Juventus had to become “more pop.”He is not the only executive in European soccer to have that thought. In 2018, fans lined up around the block outside the Parc des Princes to get their hands on the first drop of a collaboration between Paris St.-Germain and Jordan Brand, a subsidiary of its primary apparel partner, Nike. Earlier this year, Arsenal unveiled a collaboration with 424, a streetwear brand based in Los Angeles.As with the audience for Juventus’s collection with Palace, the core market for these collaborations is not the club’s fans. It is not even, necessarily, fans of the sport. The collections are not intended to be worn as soccer products or as declarations of loyalty to a team; the tie-ins are not, as they are often presented, attempts by Europe’s insatiable superclubs to sell more tickets or to pick up more fans.The Juventus chairman Andrea Agnelli oversaw a complete rebranding of the club.Miguel Medina/Agence France-Presse — Getty Images“A lot of the people buying those P.S.G. Jordan shirts will not care about the team’s league position,” said Jordan Wise, a founder of Gaffer magazine and the creative agency False 9. “Many of them may not even like football.” That is precisely their value to clubs: an entirely untapped market, one not subject to the vicissitudes and tribalism that affect soccer fans.“Working with streetwear brands gives the clubs access to a completely different space,” Wise said. “But to do that, they have to think and look different: less like clubs, and more like sportswear brands.”No team has embraced that shift quite like Juventus. In 2016, at Agnelli’s instigation, the club decided to embark on a comprehensive rebrand. Every aspect of the team’s identity would be in play, including, most controversially, its iconic crest, a symbol that had roots stretching back more than a century.“It was more than just a change in the badge,” said Giorgio Ricci, Juventus’s chief financial officer. “It was a new visual identity, one which would enable us to be seen as innovative, one step ahead.”The club put the rebrand idea out to a number of marketing agencies, and eventually selected a pitch from Interbrand, a longstanding partner. Its approach had been risky: After consulting the company’s global network of creatives, Lidi Grimaldi, the managing director of Interbrand’s Milan bureau, decided against presenting the club with a suite of options, spreading their bets in the hopes that one caught the imagination.Instead, she said, Interbrand decided to go in with one design. Though the company had previously helped tweak the Juventus crest, making it a little less ornate, altering the color scheme a touch, this time Interbrand would suggest something more revolutionary. “Something really bold,” she said. Miguel Medina/Agence France-Presse — Getty ImagesMarco Bertorello/Agence France-Presse — Getty ImagesThey did not have much time. Because Juventus and Adidas needed to start work on the club’s jerseys for the next season, Interbrand had less than a month to get its ideas together. Rather than something that looked like a soccer crest, it designed a logo that had “more in common with Google or Apple or Nike,” Grimaldi said.There would be no depiction of a charging bull, as there had been on every version of the crest for more than a century. There would not even be a crest, as such: just a sleek and stylized J, a design that would form the centerpiece of and inspiration for an updated visual identity. That was no accident. “The whole strategy was to widen the spectrum of activities without abandoning the club’s core, which is football,” she said.To present the idea to the Juventus board, Interbrand made a short film, one that offered a glimpse into what this bold new future might look like: that stylized J emblazoned on cafes and hotels, adorning events, used in collaborations with cutting-edge fashion brands. The Juventus executives, including Agnelli, were thrilled, Grimaldi said. This was precisely the sort of sea change they had been seeking. The main response, she said, was: “Wow.”The club, of course, knew such a drastic change would not be universally welcomed. When the new logo was revealed, the reaction from fans was — at best — mixed. Juventus felt it had no choice but to ride out the storm.“We needed a new identity that could change the perception of Juventus among different stakeholders,” Ricci said. “One that could enlarge the scope and potential targets of our business. We needed a new identity that was suitable not just for core customers, but for new audiences, something that could be a trigger for creators.”Perhaps the best measure of its success came on Tuesday. After a similarly intensive design period, Inter Milan — Juventus’s fierce domestic rival — presented its own new crest, a simplified version of the badge that has graced the club’s jerseys for decades. Imitation, after all, is the sincerest form of flattery.The soccer entertainment complexFew clubs can match Manchester United’s revenue off the field.Oli Scarff/ReutersFor years, Manchester United has been held up as soccer’s gold standard in converting the sport’s unparalleled popularity into cold, hard cash.The partnership model it pioneered, combining 25 official club partners with a jumble of regional partners around the world, might have made it an easy target for satire — all those tractor and noodle endorsements — but it has also turned the club into a financial powerhouse, capable of earning a profit even during the coronavirus pandemic.Increasingly, though, the consumption habits of younger people are making that approach seem outdated. “We’re seeing a move away from the licensing model,” Wise said. “We know that Generation Z and millennials hate being sold to. That means it’s no longer enough to plaster a club’s badge on something and assume fans will buy it out of loyalty.”Instead, he said, partnerships must feel “authentic,” and the content used to promote them must “tell stories.” That authenticity was the logic behind the Juventus rebrand, not only of its crest but of the club’s whole visual persona, from its social media — using a bespoke font — to its branding.“It was about placing soccer in the broader entertainment framework,” Ricci said. “We see our competition not just as clubs, but things like the gaming industry.”For partners, the appeal is obvious. Soccer has a reach that no other aspect of culture can match. Cristiano Ronaldo has more followers on Instagram than anyone else on the planet. Lionel Messi might trail his rival there, but it will be some solace that he is, at least, ahead of Beyoncé.Cristiano Ronaldo is a global brand in his own right, with 273 million followers on Instagram.Marco Bertorello/Agence France-Presse — Getty ImagesLikewise, Juventus has a name recognition that can supercharge a brand like Palace. The difference is that, increasingly, soccer has to give a little, too. It has to accept the principles of what Grimaldi called “strategic design,” the idea that design itself can change consumer behavior and expectations.“The rebrand was not a way of being cooler or more contemporary,” Grimaldi said. “It was a chance to show you understand the verbal and visual codes you have to adopt if you want to be understood in other spaces. To do work with Palace, for example, you have to adopt the design codes of their world.”It is, though, a slow burn. Four years since its rebrand, Juventus is not in a position to pinpoint any immediate financial boost, which has traditionally been the primary motivation and metric for anything any soccer club does. When looking at the club’s books, Ricci said, it is hard to isolate what is a consequence of the rebrand, and what is a result of winning trophies or signing Cristiano Ronaldo.He is, though, “absolutely convinced” that it was worth it. Internally, the new identity gave the club a sense of direction, he said. Externally, the outrage over the new badge subsided fairly quickly: Signing Ronaldo and picking up another handful of Serie A titles meant the club’s traditional fans did not feel alienated.But at the same time, it meant that Juventus had become something more than a team, something more like a sportswear brand, too.It is still occasionally possible to buy one of those original pixelated, acid green, special-edition Palace jerseys in streetwear’s thriving resale market. Prices start at several hundred dollars, far more than even the newest Juventus jersey. And how the team is doing on the field makes not the slightest bit of difference. More