Sleep No More

Sharing a pastrami at Katz’s proved to be not only a delight but also necessary. We didn’t know it yet but we would need all the energy we could muster to see us through the rest of the evening. You see, we were about to embark on a journey to the fantasy world of the McKittrick Hotel and Punchdrunk’s adventurous production Sleep No More where lines between reality and dream, performer and spectator, time and space, are blurred and constantly shifting.

Sleep No More tells Shakespeare’s classic tragedy Macbeth seen as a film noir but, instead of watching a film, spectators move freely through corridors and rooms following any of the performers they choose to, or no one at all. People, wearing white masks handed by the McKittrick’s eccentric hosts before bidding them farewell with a firm ”fortune favours the bold”, can enter the dimly lit rooms, touch objects, open drawers, listen to soft rustling sounds and whispers, even breath the ever-so-faint scent of unseen residents. Sometimes, they can come face-to-face with an actor, perhaps too close for comfort. Which is precisely the whole point of this production, a unique theatrical experience unlike any other.

For tips on how to experience Sleep No More best, please check here.

Image credits: all except the first one, which was taken while waiting in line outside, are courtesy of the McKittrick and Punchdrunk. Photography is strictly forbidden so as not to spoil the ambience.

August 20th, 2017

Watch This Space

On 20 July 2018, ESA astronaut Alexander Gerst welcomed the legendary electronic band Kraftwerk and 7500 visitors to the Jazz Open Festival on Stuttgart’s Schlossplatz – live from the International Space Station, where he will live and work until mid-December 2018.

Watch them perform live. In real-time. In direct line. With space.

Alexander Gerst: […”The ISS is a Man-Machine. The most complex and valuable machine humankind has ever built. Here, in the European Columbus Laboratory, the successor to the Spacelab, the European Space Agency (ESA) is researching things that will improve the daily life on Earth. More than a 100 different nations work together peacefully here and achieve things that a single nation could never achieve”…]

∞ °•° 

Paired with the reflective, illusionary, upside down, spacey architecture by Samara Golden.

The Meat Grinder’s Iron Clothes, 2017 was a site-specific installation using insulation foamboard, extruded polystryrene, epoxy resin, carpet, vinyl, fabric, acrylic paint, spray paint, nail polish, plastic, altered found objects and mirror.

The 2017 Whitney Biennial

June 10th, 2017

Look || See || Feel

The Emptiness Within

Jay DeFeo
b. 1929 Hanover, NH
d. 1989 Oakland, CA

The Eyes, 1958, Graphite pencil on paper, 42 × 84 3/4 in. (106.7 × 215.3 cm).

The artist inscribed the back of this drawing with a stanza from a poem by Philip Lamantia, a fellow member of San Francisco’s Beat community: ”Tell him I have eyes only for Heaven as I look to you Queen Mirror of the Heavenly Court”.

The 2017 Whitney Biennial

June 10th, 2017

The Art of the In-Between

1/KAYA (Kerstin Brätsch and Debo Eilers), founded 2010, installation view of SERENE, 2017

3/Kaari Upson (b. 1972), In Search of the Perfect Double II, 2016 (detail). Urethane, pigment and aluminium

4/Asad Raza (b. 1974), detail of Root sequence. Mother tongue, 2017

5/Elsie Driggs (1895–1992), Pittsburgh, 1927. Oil on canvas

8/Richmond Barthé (1901–1989), African Dancer, 1933. Plaster

9/View (partial) of Larry Bell’s Pacific Red II, 2017 – also seen in previous post

The 2017 Whitney Biennial

June 10th, 2017

Red Velvet Fudge & Hot Pink Candy

In Greece, the expression “piase kokkino” (“touch red”) is said when two people say the same thing at the same time. It is believed that such an occurrence is an omen that the two will have an argument in the future, which can only be broken when the two touch the closest thing that is red.

Larry Bell
Born 1939 in Chicago, IL
Lives in Taos, NM, and Los Angeles, CA

Blending into the red candy palette of Larry Bell’s Pacific Red II, a work consisting of six laminated glass cubes installed in one of the Whitney’s terraces. Each box enclosed another, their multiple surfaces reflecting warm shades of red and pink light which – inevitably – made it an instant hit with photographers and other urban species of instagram.

PS: there were no arguments that day – or the next!

The 2017 Whitney Biennial

June 10th, 2017