1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30      

Ralph Lemon
Mar. 27 — Jun. 29, 2014

Exhibit: When the Stars Begin to Fall -Imagination and the American South / Studio Museum of Harlem
New York, NY
TAKES, 2010. Photo by Lars Jan.^497 Lars Jan/Early Morning Opera's AS FAR AS THOUGHT CAN REACH. Photo by Lars Jan.^497 Lars Jan/Early Morning Opera's ABACUS. Photo courtesy the artist.^497 Creative Residency for Lars Jan's Holoscenes^497 Creative Residency for Lars Jan's Holoscenes^497 Lars Jan/Early Morning Opera's ABACUS. Photo by Lars Jan.^497 Geoff Sobelle (performer) in Holoscenes tank. Image: Lars Jan^497

Lars Jan/Early Morning Opera

Anticipated premiere fall 2015. MAPP is currently seeking commissioning partners, production residencies and creative support.

HOLOSCENES is a suite of multi-format artworks that engage and defy the primal fear of drowning, both in water and larger systems of our own devising. Embedded within the work is a stream of investigation concerned with the evolutionary future of empathy and long-term thinking as they relate to our everyday behavior.

The heart of HOLOSCENES is a large-scale performance installation and public spectacle. Placed in public space, whether a main plaza in a metropolis or the courtyard of an arts institution, HOLOSCENES is a triptych of aquariums -- 10x7x10' forms of transparent acrylic -- connected to a sophisticated hydraulic system, set proximate to one another, and viewable from all four sides.

Each aquarium is inhabited by a single performer conducting a looping personal ritual - highly choreographed secular or sacred behaviors, with attendant objects, costumes, and utterances - initiated in the absence of water. As water fills and empties from the aquariums at varying intervals and rates, the choreography of the performers, the appearance of costumes, the functioning of objects, all change. Pushed to the top of the aquariums for air, performers then dive below, where they attempt to conduct their rituals in a modified form. As the water drains, the performers continue, soaked by these mini-floods. Day and night for one week, the aquariums are inhabited by staggered trios (out of a dozen total performers) such that the triptych of rituals is never the same twice. Through repetition, these recurrent behaviors conjure past and coming environmental tragedies, gaining a poetry of motion as studies in adaptation and persistence rather than catastrophe.