Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.
The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.
For the Shakers, Dancing is both a means of revelation and a way to do the work of God in the world, Kimerer LaMothe, a dancer and philosopher of religion, said in an interview. To dance is to build heaven on earth.
The entire indoor journey, from entry to elevator to the 100th floor, has been reimagined as a multi-sensory, immersive environment. The overhaul comes via a collaboration between experiential design firm Journey, multimedia studio Moment Factory and NYC-based design outfit SOFTlab.
"It's a really special spot. When you start at the top and move down the gently sloped ramp, you almost feel like a marble tumbling down, looking at art as you roll by. The slight slant plays with your sense of perspective and grounding."
"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."
Seeing the Alhambra in Granada was an extraordinary experience for me. It was the first time that I understood painting as something other than an object hanging on a wall. I thought that paintings could be in a fixed place, made for that place, made for the light of the place, experienced kinesthetically.
The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.
On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.
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