Ann Hamilton Show

Ann Hamilton Installation

Park Ave Armory

 

 

Form:

The Park Ave Armory is old and well maintained, with the feel of a mansion and a warehouse simultaneously.   After entering through the elaborate lobby area, one passes through a large open doorway into the main space, encountering dark trusses, brick walls, well worn wood floors, and deep shadows.  A giant white silky curtain hangs perpendicular to your entry, in the middle of the giant space, extending nearly the entire width and height of the hall.  On either side of it, a field of wooden swings hang.  From their support ropes, additional ropes attach to the top of the curtain, so as show-goers swing back and forth their movement transfers through these ropes pulling the curtain’s top in a continuous tug of war.  At the entrance end of the hall, two people wearing furry capes read from scrolls to pigeons.  Their voices are broadcast through paper bags scattered throughout the field of swings.  On the other side of the hall, a person in a similar costume continuously writes on ruled pieces of loose paper.   A concave mirror somehow attached to the swings hangs over him and moves every once in a while, redirecting intense spots of light.  An old typewriter on a podium sits passively closeby, bathed in a perfectly round spotlight.

 

Space/Time:

The work somewhat awkward in layout – as you walk through the field of swings there’s a simultaneous feeling of freedom in the large space but also the feeling that you could be hit by a swinger if you don’t watch out.  This necessary heightened awareness adds to the feeling that you’re part of a living organ where you’re in tune to the movement of the curtain, the swings, and the people around you.

 

Lighting Mechanics

Theatre spotlights highlight the important pieces Hamilton has created in the Armory (the swings, the curtain, the tables with the readers, writer, and typewriter), leaving the rest in shadow.  Barn doors are used to create perfectly crisp light rectangles on the wood floor under each swing, highlighting their path of movement.   Other spotlights very precisely highlight the writer and reader tables with the pigeons and mirrors.  More spotlights aim at the giant white satin curtain, whose movement in this direct light emphasizes its sheen.

 

Optical Response

Because the interior is so dark and only downlights are used, the actual architecture is veiled behind the light sources in shadow, giving the impression that one doesn’t know the actual boundary of the space.   The fuzzy peripherals contribute to the surreal magic of the space.

 

 

Emotional Response

Like Eliasson’s holy grail, the participants truly feel their ability to affect their environment: any action they feed into their swing feeds back to them as air movement throughout the entire space.  There is some kind of magic to the whole experience, like you just stumbled onto a portal to a parallel Harry Potter universe.  There’s a feeling of community created by the giant curtain – people lay underneath it to watch its movement and feel it’s breeze, as if they were laying on a grassy hill watching the stars come out.  It’s both disappointing and poignant that when you actually swing back and forth, your movement does not feel free because of your attachment to the giant curtain and consequently the tug of the other swingers across from you.  The magic is really all in the billow of the curtain though – its movement is gigantic and elegant.

 

Concept

From the show title “the event of a thread” and the incredibly celebrated rope system of the swings, one’s first impression is that the concept is about each human’s energy being put into their individual swing, being carried through the fragile yet catalytic element of the rope, and amplified in the movement of the giant curtain, which creates air movement throughout the entire space.   However, reading her artist statement in the distributed newspapers at the event, the concept is much broader than that.  It’s about crossings – of the body across space in a swing, of the threads within the curtain, of the ropes of the swings, of the voices of the readers to the paper bags.  And it’s about the feeling of motion and weightless suspension that one can get from swinging or listening to a book being read.  And it’s about cloth as a responsive membrane, almost an extension of the skin.  Hamilton layers layers and layers of meaning into her work.

 

Records and Representation

All the advertisements for the show (yes…advertisements for art…) showed vague shadows of people swinging on swings, to give a hint of the show without giving it all away.  Newspapers of fuzzy shadows and the show’s explanation are held near the entrance of the Armory to be taken for free.

 

Installation Update: Jacinda

Halogen update:

I dimensioned and estimated the amount of wire needed to be roughly 150 feet (double strand, so 300 feet for single strand cable).  I priced cable at Home Depot ($68 for a 500 ft roll of single strand) and G&G Electric ($32 for the same thing).  I bought the cable from G&G and made sure there’s a return policy.  As for the cap/crimp end pieces: G&G didn’t have them but said to check back on Monday when they had more of their department open.  Home Depot didn’t have them and told me to go to G&G.  Lighting & Beyond didn’t have them and told me to go to Home Depot.  Midwest Electric was closed.
Kat went to G&G today and they still don’t know anything about the end caps.  Tucker contacted Midwest Electric and is in touch with someone who may at least be able to identify these things.

Request for fixtures…

2012 11.01_LSA_To.Ken.Romaine

Here is the request we sent Ken Romaine at Philips Color Kinetics last week during the storm.  Jeanne, Huanhai, Noele, and I managed to work on it remotely.  It includes a cover letter type request with a brief explanation of the installation, a preliminary lighting layout plan and section, a couple of the latest photos from our tests, and fixture cut sheets.

 

Light Source and Baffles?

Last night when we were meeting (see Yungbin’s post) there was discussion of how to model the viewing bodies with light.  Patricia envisioned baffles that will help contain the light between sections of viewing along the wall.  I think this would be a helpful way to possible hide light sources above, to the side, and below the viewer.  This creates opportunities to light different parts of one side’s viewer versus different parts of the other side’s viewer.  (See posted illustrations)

However, there was also talk of creating a more simple, clean, and (potentially) powerful lighting mechanics setup where snoots on spotlights would do the work of these baffles, creating extremely specific and narrow beams of light.  We noticed how it was more powerful when light would graze a face only instead of washing a whole body, because we perceive only a glimpse instead of an entire revealed view.  This may be relevant to the Cage piece, which might be equated to a series of discreet chords instead of a continuous symphony.  The power is in the separation, the isolation of parts, and the minimalism.