Tell me about the project.
The in-house art program is called Landscape. A portion of every ticket sale goes into the art fund, so music-goers become patrons of the arts. The program supports both temporary and permanent exhibitions, or “interventions.” Murals, for example, are the more permanent works, and then other works change seasonally. The video residency, for example, in the dancefloor is a seasonal project. So, each season, a different artist takes over the video residency and, again, becomes totally embedded in the experience of dancing in a nightclub. The project space is a kind of gallery-like space that changes every season. Our summer season opens June 11th. The project space will be a tiny movie theater which showcases a wide range of video artists. I’m working with the associate director of Cristin Tierney Gallery, and she created a series of films for a Zaha Hadid building that opened in Chelsea that will be—a version of that will play for the opening of our summer exhibition. And the thing about the openings for the artist, which is June 11th, is it’s actually the only time people can come and explore the building exclusively to see art. There’s no gallery hours. In other words, outside of that time, you would just come to see music and then experience art. There’s only one night a season where you come deliberately and intentionally to experience all of the new installations for the building.
Yeah, it’s like a sneaky art attack.
Absolutely. It’s really meant to kind of transform the building, beautify and enliven the building, and give people, in this case music-goers, an opportunity to interact with art in a very spontaneous and musical way that ruptures the social contract of seeing art in a formal gallery where you kind of pass through and leave. Again, we just walked into the bathroom and saw Madeline Manning’s work, which is the toilet seats. I went to Japan, and I got really inspired, because there is an option every time you use the bathroom to turn on sound for politeness.