Rain of Light

My title, not the artist’s. The artist left it untitled so I thought, what if I call it ”Rain of Light”, isn’t it more fitting? Presumptuous may be, but it was the first thing that came to mind when I saw it illuminating the stairwell, making it an integral part of the museum rather than a solely utilitarian feature. I instantly thanked myself for choosing to take the stairs instead of the lift.

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Ambience

Felix Gonzalez-Torres
”Untitled” (America), 1994

Twelve light strings, each with forty-two 15-watt lightbulbs and rubber sockets, at the stairwell of The Whitney Museum of American aRt.

September 10th, 2016

Manifesto

I went in expecting to see an interesting video art installation. I came out a better person, conscious that I have witnessed a brilliant work of art. Julian Rosenfeldt’s Manifesto bridges admirably the boundaries between filmmaking, theatrical artistic expression and technical dexterity. Mounted on 13 screens, positioned all over the monumental Wade Thompson Drill Hall in deceptive randomness, Manifesto brings to life excerpts of over 50 manifestos and statements by artists, filmmakers, choreographers and architects, going back as early as 1913 (Appolinaire’s The Futurist Antitradition) and as recently as 2002 (Jim Jarmusch’s Golden Rules of Filmmaking).

And then, there is Cate Blanchett. In case you still had a doubt about Ms. Blanchett’s brilliance as a performer this is your moment of truth. Passing effortlessly from the role of a homeless man, to a diva choreographer, a TV anchorwoman, a factory worker, a school teacher, a scientist, or my two favourites – a puppeteer and a conservative mother, Ms Blanchett interprets, dramatizes and recites excerpts, merging different manifestos and statements in every story seamlessly, skillfully proving yet again what a powerful performer she really is.

Manifesto is on at the Park Avenue Armory until January 8th, 2017. An unmissable treat, if your way brings you to New York City until then.

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Photography is not permitted inside the hall, and rightfully so for once, as camera and cell phone lights would have been all but rude intruders destroying the immersive, audio-visual experience.

As a compensation, cameras are welcome in all the beautifully restored reception rooms on the first floor.

December 10th, 2016