Wyatt Niehaus (b. 1989),   still from Body Assembly – White Exteriors,   2014. Video,   color,   silent; 2:52 min. Collection of the artist

Wyatt Niehaus (b. 1989), still from Body Assembly – White Exteriors, 2014. Video, color, silent; 2:52 min. Collection of the artist

Dreamlands: Immersive Cinema and Art, 1905–2016

Whitney Museum, New York
Curated by da Chrissie Illes

Dreamlands: Immersive Cinema and Art, 1905–2016 focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—screen, projection, darkness—to create new experiences of the moving image. The exhibition will fill the Museum’s 18, 000-square-foot fifth-floor Neil Bluhm Family Galleries,  and will include a film series in the third-floor Susan and John Hess Family Theater.

The exhibition’s title refers to the science fiction writer H.P. Lovecraft’s alternate fictional dimension, whose terrain of cities, forests, mountains, and an underworld can be visited only through dreams. Similarly, the spaces in Dreamlands will connect different historical moments of cinematic experimentation, creating a story that unfolds across a series of immersive spaces.
The exhibition will be the most technologically complex project mounted in the Whitney’s new building to date, embracing a wide range of moving image techniques, from hand-painted film to the latest digital technologies. The works on view use color, touch, music, spectacle, light, and darkness to confound expectations, flattening space through animation and abstraction, or heightening the illusion of three dimensions.

Dreamlands spans more than a century of works by American artists and filmmakers, and also includes a small number of works of German cinema and art from the 1920s with a strong relationship to, and influence on, American art and film. Featured are works in installation, drawing, 3-D environments, sculpture, performance, painting, and online space, by Trisha Baga, Ivana Baši?, Frances Bodomo, Dora Budor, Ian Cheng, Bruce Conner, Ben Coonley, Joseph Cornell, Andrea Crespo, François Curlet, Alex Da Corte, Oskar Fischinger, Liam Gillick, Dominique Gonzalez-Foerster, Pierre Huyghe, Alex Israel, Mehdi Belhaj Kacem and Pierre Joseph, Aidan Koch, Lynn Hershman Leeson, Anthony McCall, Josiah McElheny, Syd Mead, Lorna Mills, Jayson Musson, Melik Ohanian, Philippe Parreno, Jenny Perlin, Mathias Poledna, Edwin S. Porter, Oskar Schlemmer, Hito Steyerl, Rirkrit Tiravanija, Stan VanDerBeek, Artie Vierkant, and Jud Yalkut, among others.

Hito Steyerl (b. 1966),   Factory of the Sun,   2015. High-definition video,   color,   sound; 22:56 min.,   looped; with environment,   dimensions variable. Installation view: Invisible Adversaries,   Hessel Museum of Art,   Bard College,   Annandale-on-Hudson,   New York,   2016. Bard College,   Annandale-on-Hudson,   New York; Marieluise Hessel Collection. Image courtesy of the artist and Andrew Kreps Gallery,   New York. Photograph by Sarah Wilmer

Hito Steyerl (b. 1966), Factory of the Sun, 2015. High-definition video, color, sound; 22:56 min., looped; with environment, dimensions variable. Installation view: Invisible Adversaries, Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, 2016. Bard College, Annandale-on-Hudson, New York; Marieluise Hessel Collection. Image courtesy of the artist and Andrew Kreps Gallery, New York. Photograph by Sarah Wilmer

Installation view of "Dreamlands: Immersive Cinema and Art,   1905-2016" (Whitney Museum of American Art,   New York,   October 28,   2016-February 5,   2017). Stan VanDerBeek,   Movie Mural,   (1968) E.2016.1545. Photography by Ronald Amstutz

Installation view of “Dreamlands: Immersive Cinema and Art, 1905-2016″ (Whitney Museum of American Art, New York, October 28, 2016-February 5, 2017). Stan VanDerBeek, Movie Mural, (1968) E.2016.1545. Photography by Ronald Amstutz

Christo, Floating Piers

Oltre 1, 200, 000 persone hanno visitato The Floating Piers di Christo e Jeanne-Claude durante i suoi 16 giorni di apertura, dal 18 giugno al 3 luglio 2016. Un’opera composta da pontili galleggianti, ricoperti di tessuto, che si estendevano per 3 chilometri di lunghezza attraversando le acque del Lago d’Iseo, proseguendo lungo 2.5 chilometri di percorso pedonale a Sulzano e Peschiera Maraglio. “Ogni progetto è un pezzo delle nostre vite ed è qualcosa che non dimenticherò mai” ha detto Christo. “Io e Jeanne-Claude abbiamo concepito l’idea di The Floating Piers nel 1970. Solo in seguito ho capito che il Lago d’Iseo era il luogo in cui avevo davvero sentito l’ispirazione per realizzare questo progetto. L’acqua del lago, il paesaggio e le cittadine intorno ad esso. Tutto questo è stato The Floating Piers. Uno degli aspetti più importanti di questo progetto è senz’altro la sua temporaneità, un’opera momentanea, transitoria, da vivere a pieno nella brevità della sua permanenza — questo è il motivo per cui dopo 16 giorni tutto è finito.”

The Floating Piers,   Lake Iseo,   Italy,   2014-16 Photo Wolfgang Volz © 2016 Christo

The Floating Piers, Lake Iseo, Italy, 2014-16 Photo Wolfgang Volz © 2016 Christo

The Floating Piers,   Lake Iseo,   Italy,   2014-16 Photo Wolfgang Volz © 2016 Christo

The Floating Piers, Lake Iseo, Italy, 2014-16 Photo Wolfgang Volz © 2016 Christo