Between the Gothic walls of St. Patrick’s Old Cathedral, with a choir intoning an ethereal soundtrack from all sides, Marco Brambilla’s “Creation (Megaplex)” revealed its vision of humanity from Big Bang to apocalypse in a swirling 3D film.
The second floor of the Room Mate Grace Hotel last Wednesday night was humid. A crush of guests lined up around the hotel’s small pool and perched on bleachers staring down on it, hypnotized not just by the summer atmosphere but by the surface of the water. The pool didn’t look so much like a pool as a floating vat of primordial mist. Dancing on the upper layer of mist, circles of light bubbled up like so many blown smoke rings. The surreal vision was an artwork, called “Materialization/De-Materialization,” installed by Marco Brambilla for After Hours, a monthly series of events hosted by Clocktower gallery and Times Square Arts of which Hyperallergic is the exclusive media sponsor.
After Hours is a new joint venture of Times Square Arts and the Clocktower Gallery, and it’s aiming to bring creatives back to the hub of Times Square. Each month, After Hours will invite leading artists, musicians and performers to a very New York venue to expand the minds of visitors. Hyperallergic is proud to be the exclusive media partner for the series. For tickets — plus delicious drinks and a chance to see great art and meet the artists, RSVP here.
World on a Wire brings together seven digital artists in a show displaying fleeting moments of the artists’ larger bodies of work. It’s difficult to pull thematic coherence from such an disparate group of cohorts especially when the title derives from Rainer Fassbinder’s 1973 sci-fi film set in a cybernetics lab.
As the sun was setting on Saturday, the hills of salt outside the run-down factory buildings at Lumen 2012 looked otherworldly. The one-night video and performance art festival was staged in the vacant spaces of the old Atlantic Salt Company on Staten Island, where 150,000 tons of salt that had gone unused during the curiously warm winter were transformed into performance pedestals and projection sites.
PARK CITY, Utah — Behind the shopping plaza location of the press-and-industry screening hub known as the Holiday Village Cinemas and tucked behind the celebrity favorite restaurant Blind Dog stands Park City’s shuttered Anderson’s Lumberyard. Recently remade by local businessman Mark Fisher as a music venue called The Yard, the sprawling warehouses turn into the trans-media exhibition space New Frontier The Yard for the 10-day Sundance Film Festival.
Obama laid a wreath at the base of the former World Trade Towers right after Osama had been buried at sea. And, as if on cue the utopian “Festival of Ideas For the New City” launched, vowing to “harness the power of the creative community to imagine the future city and explore the ideas destined to shape it.” Starchitects, visionaries, the homeless, mayors, artists, foodies, freegans, the playskool crowd, beggars, actors, bakers, and 100 plus organizations bulwarked by the combined might of the New Museum, The Architectural League, The Bowery Poetry Club, C-Lab, Columbia University Center for Architecture, Cooper Union, The Drawing Center, NYU Wagner, Storefront for Art and Architecture, and the Swiss Institute looked around their own post-recession backyards to tackle sustainability and revitalization, declaring “yes we can.” And for four days, they did.