The idea of New York is one that is radically open and flexible, and simultaneously it is extremely determined, an ultimate always already that refers to itself with an unusually vibrant, and sometimes aggressive dexterity. It’s one of the most attractive things about the city, making it seductive and elusive. Just when it seems that you’ve got the city figured out, it becomes something else altogether different. From a distance, geographical or temporal, its faces are consistent and do reveal an order, although at the time it might seem all too random.
The business hotels in New York are great places from which to contemplate how this all fits together. Even if there are no answers, which are probably misleading anyway, there is a sense that these ideas all collapse into each other and constantly expand to become something else. Every point of view gets caught up in the fold, and if you were to see this visually represented, it might look something like Hypermusic/Ascension, the inner text of the site-specific monodrama presented at the Guggenheim in March.
This collaborative dream team, composed of Lisa Randall, Héctor Parra, and Michael Ritchie, has put together this new opera that utilizes an experimental score. The attempt is to capture something of the 5th dimension, and this is a tall order. As part of the museums Contemplating the Void exhibition, tall orders are very welcome here. Interventions into the space have produced some fantastic experiments, with works by Cai Guo-Qiang, Matthew Barney, Nam June Paik, Jenny Holzer. This is a good opportunity to participate as an observer, and to push the barriers of quantum theory until it begins to look like waking life.
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