It was as if I had walked into the middle of a professional cliché: crouched in the musty attic of MoMA PS1, I sifted through beaten-up boxes of institutional flotsam. I was attempting to survey the remaining materials to be included in The Records of MoMA PS1, which will open to the public at the end of 2012.
Posts tagged ‘P.S.1’
Walking down Washington Avenue in Brooklyn’s Crown Heights, I frequently pass a handsome brick building with the telltale green lanterns of a former police precinct headquarters. Regal, imposing, and even a little bit spooky, the 80th Precinct Building is one of the prominent landmarks of my pedestrian and neighborhood life.
What do you get when you put a group of artists together on a condemned pier beneath the Brooklyn Bridge? No, this isn’t a joke, but the colorfully bizarre origin story of that renowned laboratory of contemporary art, MoMA PS1.
Performance art is in the middle of an extraordinary resurgence in popularity right now, with groundbreaking performance exhibitions at several institutions in the New York area, including the recent Tino Sehgal show at the Guggenheim Museum, the current Tania Bruguera exhibition at the Neuberger Museum, and of course, The Museum of Modern Art’s Marina Abramović exhibition, The Artist is Present. Performance programming is on the rise at biennials and art fairs around the world, and departments devoted to performance art—such as those at MoMA, Tate Modern, and Centre Georges Pompidou—are increasingly being incorporated into the contemporary art museum.
There is no better way to understand this remarkable material, and the reasons behind its current boom, than to visit 100 Years (version #2, ps1, nov 2009), an exhibition on view now through the end of April at P.S.1 Contemporary Art Center in Queens.
Rising Currents opened to the public yesterday. One of the premises of the exhibition is the value of creative collaboration, and in that spirit we encourage visitors to respond to the exhibition by posting comments on the project website at the kiosk inside the gallery.
The team leaders participated in a panel discussion moderated by myself and Guy Nordenson on Tuesday evening. We posed several questions to the teams, focusing on the unique format of the workshop phase at P.S.1. Specifically, we asked if the teams gained any valuable insights during the Open Houses, when the public was invited to see work in progress.
Institutions that engage in munificent and far-reaching lending forge important collegial relationships with one another, and in the process help to create a network of public spaces with dynamic, diverse programming. Rarely, however, are these relationships sanctioned in any official capacity, which is what makes the affiliation between MoMA and P.S.1 so special. The two joined forces in 2000, with the goal to “promote the enjoyment, appreciation, study, and understanding of contemporary art to a wide and growing audience.” In the last ten years the institutions have worked together in many ways, but 1969, an exhibition on view at P.S.1 through April 5, is the first time that a group exhibition at the Long Island City center has been drawn entirely from MoMA’s collection.
Occupying an entire floor at P.S.1, the exhibition features some eighty objects representing all seven of MoMA’s departmental collections plus the Museum Archives. I was delighted to discover dozens of works for the first time, as well as to embrace long cherished images that I had never before seen in person. Just as gratifying was seeing several works—works that MoMA visitors are surely familiar with—in a new context.
The Rising Currents exhibition and studio work at P.S.1 demonstrated the challenges that New York City faces from climate change, as well as the opportunities we have to rethink how we interact with the built and natural environment.
New York City already faces real and significant climate risks. We currently experience hot, humid summers and severe weather events, including heat waves, torrential downpours, snow and ice storms, and nor’easters. These weather events affect every New Yorker. As our climate changes, increasing our resilience to these events will become even more necessary.
With a grand finale—attendees filled the room and spilled out into the hall—the five teams presented their final designs to the public at P.S.1 on January 9. As the teams now begin producing materials for the upcoming exhibition at MoMA (and the MoMA team begins preparing the space and the explanatory glue around the project), Rising Currents enters a new phase. Over the next few weeks a number of expert guest bloggers will add their perspectives on an experiment that challenges both the city as we have inherited it and the format of an architectural exhibition in an art museum. The quality of design, innovation, and intense teamwork that has characterized the last two months at P.S.1 has been nothing short of remarkable. The level of interest from city, state, and federal officials has been deeply encouraging and the surge of interest from the public has been spectacular. This week a jury will convene at P.S.1 to pick the finalists for the eleventh annual Young Architects Program (YAP). YAP is an integral part of our department’s programming and while the Rising Currents project is similar in some ways, it is worth noting that it is a true innovation for MoMA and P.S.1, and we believe in some respects, for architecture museums in general.
Rising Currents enticed hundreds of visitors to brave the cold and spend their weekend at P.S.1’s Saturday Sessions, exploring the Rising Currents open studios and listening to the architects-in-residence present their design solutions for New York’s rising sea level. The open house marked the official conclusion of the first phase of the Rising Currents project, the eight-week architect-in-residence workshop. Working together with MoMA’s Exhibition Design, Graphics, and Architecture and Design departments, the five multidisciplinary teams now move their projects forward by determining how best to transfer the results of their P.S.1 workshop processes into engaging design presentations within the context of a MoMA gallery. Below, the teams report on their final week in the workshop. A video of the presentations will be available on the Rising Currents website www.moma.org/risingcurrents soon.
Eric Bunge and Mimi Hoang, nARCHITECTS
As the hustle and bustle of the holiday season took over New York City in the past weeks, the Rising Currents architecture teams-in-residence enjoyed the winter wonderland from their studios at P.S.1. The teams are engaged in the final production push before the Rising Currents workshop concludes this Saturday, January 9, with a (last!) opportunity for the public to visit the teams in their studios and learn about and discuss the five projects addressing New York/New Jersey’s imminent rising sea level. As part of P.S.1’s Saturday Sessions, the studios will be open from 2:00 to 6:00 p.m., and a presentation and public Q&A session will take place from 3:00 to 4:30 p.m. Don’t miss this opportunity to weigh in on the next phase of New York City’s [g]local designs for the future! The Rising Currents exhibition will open at MoMA on March 24.
Film shot by Robin Urban Smith.
Above, Barry Bergdoll, The Philip Johnson Chief Curator of Architecture and Design, talks about the overall goals and challenges of the Rising Currents project. Also, stay tuned to the blog for Rising Currents updates from leaders in ecology, architecture, engineering, and civic administration.
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