At last year’s inaugural LumenoCity, a total of 35,000 spectators were dazzled over the course of two nights as Music Hall was lit up with three-dimensional graphics, bringing OTR to life with a visual and musical spectacle.
When tickets for a trio of concerts on Aug. 1-3 became available to the general public in June, CSO clocked more than 300,000 visits to its website, and the event capacity of 37,500 over three nights was reached in 12 minutes.
CSO has unveiled plans to make the groundbreaking concert experience open to an even larger number of Cincinnatians, streaming each concert live on the web at lumenocity2014.com and broadcasting to nearly 900,000 households throughout the region.
“From day one, LumenoCity has been guided by a spirit and character of equity, access and generosity,” said CSO President Trey Devey. “Demand for the event far exceeds the capacity of the Washington Park viewing area.”
“Now, we’re able to make this free
event available on television, radio, live simulcast sites and the worldwide
web. It is our goal to reach as many people as possible with LumenoCity and
highlight the extraordinary creative energy of our community.”
90.9 WGUC, Cincinnati’s classical public radio station, will broadcast the performance live on Friday, Aug. 1, which will open LumenoCity up to listeners who can eye Music Hall from hilltops or rooftops. Public television station CET will air the event on Saturday, Aug. 2.
In addition to live Internet streams, the third and final performance will be simulcast at Fountain Square and Riverbend Music Center on Sunday, Aug. 3. Additionally, CSO will issue 5,000 free tickets for a dress rehearsal on Thursday, July 31.
CSO is also putting 3,300 newly released tickets for the trio of shows up for grabs, which will be issued for free via a drawing. Patrons may register at lumenocity2014.com, but those who already have reserved tickets will not be eligible.
The 2014 LumenoCity concert performances will begin at 8:30 p.m. each of the three evenings with John Morris Russell conducting the Orchestra as the Cincinnati Pops. After a brief intermission, Music Director Louis Langrée will lead the Cincinnati Symphony Orchestra.
The visual effects will accompany a live 40-minute CSO program featuring works from Copland, John Adams, Tchaikovsky, Elgar and Borodin.
Cincinnati stages were pretty quiet over the Independence Day weekend, but this week they start waking up and getting ready for more. Tonight at 8 p.m. is the second installment of Serials! at Know Theatre. You can see six fresh, 10-minute episodes of brand-new plays by local playwrights — Trey Tatum, Chris Wesselman, Jon Kovach, Ben Dudley, Michael Hall and the team of Lauren Hynek and Elizabeth Martin — and featuring lots of Cincinnati-area actors. New artistic director Andrew Hungerford calls it a "theater party" offering cold beer, air-conditioning and world-premiere stories in Know's Underground bar (1120 Jackson St., Over-the-Rhine). Even if you missed the "pilots" on June 23, you'll get caught up with a recap before each episode. I had a blast watching these tantalizing tidbits two weeks ago, and I suspect tickets will become harder to get as the summer progresses. (Subsequent performances on July 21, Aug. 11 and 25 and Sept. 8.) Tickets ($15): 513-300-5669.
There's a great array of theater this weekend, no matter what you like. That's a good thing, because local theater, like baseball, takes a kind of midsummer break (no All-Star Game onstage anywhere, however). So get out and see something this weekend, then enjoy the fireworks and picnics next. Here are some suggestions:
Probably the most entertaining thing onstage right now is Private Lives at Cincinnati Shakespeare. It's been selling so well that 2 p.m. matinee performances have been added this Saturday and June 28. (It closes on June 29.) It's the story of honeymoons going bad when a feisty divorced couple decide to reunite rather than stick with their new spouses — when they find themselves coincidentally in adjacent hotel rooms in Southern France. (CityBeat review here.) Cleverly staged by Ensemble Theatre's Lynn Meyers, using four of Cincy Shakes best actors. Of course it's all improbable and overdone, but that's a Noël Coward play for you — witty, silly and lots of fun. Tickets ($22-$31): 513-381-2273.
Fresh off its 2014-2015 season announcement, Downtown’s Contemporary Arts Center adds a new promotion to its calendar of exhibits, performances and special events.
Night Museum gives visitors a chance to check out the CAC during evening hours every Thursday. From 5-9 p.m., guests can view the latest exhibit, shop the CAC Store, enjoy a cash bar and mingle with other art appreciators. Admission is $7.50; $5.50 for seniors, students and educators; and free for children under 5 and all members. Paid visitors can park for free Thursdays in July at the Central Parking Garage (36 E. Seventh Street).
This week's Night Museum coincides with a special event from One Night One Craft, the CAC's DIY workshop series. Chef Trinidad Mac-Auliffe of Raw Intervention will demonstrate cool recipes — literally — highlighting dishes prepared without heat. Munch on raw creations, then try making some of your own fro 6-8 p.m. One Night One Craft continues Mondays through July.
The CAC is
typically open until 6 p.m. Wednesday through Sunday. The museum is closed on
Tuesdays and offers free admission from 5-9 p.m. Mondays. Find more info here.
What with the Fringe Festival finished up last weekend, there's not so
much to choose from in the world of local theater. But there is a piece of frothy entertainment at
Cincinnati Shakespeare Company that is a perfect summer refreshment:
It's Noel Coward's Private Lives. The show (created in
1929) is indeed a classic — making it perfect material for Cincy Shakes — but it's a very funny comedy about a pair of lovers who can't stand
to be apart and who have problems being together.
They were married for
three years, spent too much time fighting and decided to divorce. As the
show opens, they're on honeymoons with new spouses, but they end up
coincidentally in adjacent rooms at a hotel in the south of France. When
the encounter one another on the patio, they old spark is there, which
leads them to run off together. As you might imagine, a lot of
foolishness ensues -- including them returning to the alternating
currents of being in love and throwing things at one another. The couple
are played by two Cincy Shakes vets, Jeremy Dubin and Kelly Mengelkoch,
who just happen to be married to one another. Their jilted second
spouses are also fine actors from the company: the sprightly Sara Clark
and the versatile Brent Vimtrup (astonishing as Hamlet earlier this
year) now playing a boorish dud. Lots of laughs along the way as this
tale unravels, gets tangled and winds up.
Private Lives opened a week ago and has been selling exceptionally well: I saw a performance on Thursday evening that was completely sold-out, and they announced that most of this weekend's tickets have been claimed. But you should call to see what's available. Through June 29. Tickets ($21-$35): 513-381-2273.
There was something magnetic about Manifest Gallery when I walked into it late last Thursday afternoon.
And it wasn’t the space, designed to be charming with its recently opened art shows, the echoes of my slow-moving footsteps and the lost keystrokes of someone at a nearby office desk.
It was the well-curated combination of two resident artists hiding away behind those things — tangled in freshly minted work, upcoming moves and new things to create.
Nicholas Mancini and Jeremy Plunkett were in their neighboring studios sifting through iTunes and working on their prospective projects when I found them in the building’s back half. They were thinking about their past year in Cincinnati, and the artwork that was a result of it.
“Immediately it’s like this last breath and now I’m almost lost as to where I’m going to go,” Mancini says. “Your work is going there up to this point and now it’s out there. You’re done with it, and now it’s up.”
The two resident artists (plural for the first time this year), who are both painters from life (though they both work in other mediums too), opened their end-of-the-residency exhibition MAR Showcase May 30.
Mancini’s portion of the show is made by a compelling collection of moments painted perceptual remnants in his show Vestige, and Plunkett’s by an intimate, meticulously detailed collection of photorealistic light paintings in his show Container.
“I always find myself very attracted to what’s called the sublime feeling, and I try to get there with my work and it’s always been a theme,” Plunkett says. “Can I represent light in the most pure, realistic way?”
Plunkett is the type of artist who will trick you (cause you to triple-take a work until you realize it isn’t a photograph, but a humanly rendered painting), and one whose extraordinary attention to detail made me wish I knew something as preciously as he does his 6-by-4-inch, light-through-plastic-bag paintings.
Also hewn with oil, Mancini’s work balances Plunkett’s beautifully. Emotional abstractions of figures, still life and portraits reminded me first of some sweet melody, without any close look at or step up to. Full of fleeting pleasure and the sunset’s best colors, his work is briefer, shattered, and is able to catch you just in time to fall as you do.
“There’s a painting in the show that I did of my microwave and it’s like this thing, this moment,” Mancini says. “There’s this moment in a day where you go to open it and you go to put your coffee in because it’s been sitting there all day and it’s cold now, and you stop yourself and this thing you look at everyday becomes something else. And actually, I kind of like that way of thinking about it. When something becomes something else.”
After studying in several different art programs, graduating in 2010 and traveling through Norway and Italy for a year and a half, Mancini came to Manifest from his hometown of Swampscott, Mass. Plunkett came from Milwaukee after having earned his MFA at Ohio University, teaching art classes for a couple of years and then breaking from art to focus on cycling, before he again began craving a space that would enable him creatively.
Which is exactly what each of them got.
“They showed a high degree of commitment to a vein of work which showed strong intellect, a relationship to the broader history of the practice without being derivative, and a consistency that promised a trajectory that could be boosted by immersion an intense one-year program like ours,” says Jason Franz, Manifest executive director. “Based on their solo exhibits at the gallery I can say this has proven to be so true, as I am delighted with the results of this first set of MAR showcase exhibitions.”
Just before I left their studios, Plunkett caught me to tell me something I’d forgotten to ask him: that he and Mancini would leave the city with something beyond their new collections and everything that came with delving deeply into themselves during such a precise stretch of time. They’d leave with the memories and results that come from a shared residency, city and companionship that pushed and pondered and grew together as they did.
Leaning in the doorway between their two workspaces, Mancini merely turned up the corners of his mouth, nodded in agreement and then walked back to his blank canvas.
MAR Showcase features an artists' gallery talk at 5 p.m. Saturday and closes June 27. Manifest Creative Research Gallery, 2727 Woodburn Ave., East Walnut Hills, manifestgallery.org.
Just two more days of the Cincinnati Fringe Festival, so here are a few recommendations for great shows you can still catch. (Look for reviews of these performances on CityBeat's Fringe page here.) Many Fringe performances are sold-out, so check in advance to be sure seats are still available: cincyfringe.com.
Old embraced new in a powerful way when Cincinnati’s oldest art institution, the Cincinnati Art Museum, purchased a new piece from local, contemporary artist Courttney Cooper this week.
"Cincinnati Map" is now part of the museum’s permanent collection and skillfully depicts the buildings, streets, and roadways that make our city one Cooper never tires of drawing. A piecemeal of 8.5-by-11-inch repurposed papers, "Cincinnati Map" is a Bic pen line rendition of downtown Cincinnati that Cooper worked on for a year and brought to life by memory alone.
"Courttney Cooper is one of the most ambitious and compelling artists working in Cincinnati,“ says Matt Distel, CAM adjunct curator of contemporary art. “His work not only speaks to Cincinnati but also addresses more universal concepts about how people experience their environment.”
Grown out of Northside’s Visionaries + Voices studio and gallery, "Cincinnati Map" was shown in Cooper’s first museum show at the Cincinnati Art Museum last year and will now be exhibited there as curatorial opportunities for it emerge.
Visual Arts Exhibition Season:
Memory Palace (Sept. 12, 2014-Feb.16,
Curated by Steven Matijcio
On the occasion of the CAC's 75th anniversary, this exhibition will present memory as soft, malleable clay. Rather than renewing the supposed fixity of facts, Memory Palace will revel in remembering as a creative act: highlighting the way our recollections shift actual histories into imperfect, obstructed, quintessentially human legacies.
Confirmed artists for this landmark exhibition include Louise Bourgeois, Spencer Finch, Mike Kelley, William Kentridge, Guillermo Kuitca, Jun Nguyen- Hatsushiba, Hans Op de Beeck, Dennis Oppenheim, Katrin Sigurdardottir and others to be announced. The CAC's extended community will also contribute to this project as we gather your stories in a variety of formats, from video interviews to forensic sketches. In turn, the CAC is commissioning reconfigurations of the organization's unofficial archives by artists like MK Guth, Nina Katchadourian and Kerry Tribe. This effort culminates in the CAC Lobby, where artist Pam Kravetz will orchestrate community-centric projects including a television show, carnivalesque games and a monumental memory quilt.
Taiyo Onorato and
Nico Krebs: Blockbuster (Sept. 12,
Curated by Kevin Moore
The Swiss-born, Berlin-based duo Taiyo Onorato and Nico Krebs respond with humor and wit to various traditions of modernist architecture, documentary photography and the heroic travelogue. By pecking at such constructions, the artists reveal a more whimsical, ironic and subjective vision of the structures and technologies that shape the ways we see and live. And while much of their practice is photographic, the artists' engagement with other media — film, sculpture, sound — sheds the artifice of objectivity to celebrate eccentric reconstructions of the world around us. This is the first major museum exhibition for Onorato and Krebs in the United States, presented by FotoFocus.
Duke Riley and
Frohawk Two Feathers: Based on a True
Story (Oct. 10, 2014-March 22, 2015)
Curated by Steven Matijcio
History's once unquestionable integrity has eroded over time, with as much fiction, interpretation and imagination revealed in the pages of our esteemed libraries as actual facts and events. Twisting fact, fantasy and fabrication into an outsider's view of western civilization, this exhibition brings together two artists who have turned historical fiction into a habitual calling. Boston-born Duke Riley marries what he calls "populist myth" and "reinvented historical obscurities" with field research, participatory craft and museological display. Chicago-born, Los Angeles-based Frohawk Two Feathers is an artist, historian, and self-described "myth-maker" who re-imagines 18th century colonial history through a fictive cast of slaves, revolutionaries, militiamen and aristocrats.
Anne Lindberg and
Saskia Olde Wolbers: Unmade (Oct. 10,
2014-March 22, 2015)
Curated by Steven Matijcio
Artists Anne Lindberg and Saskia Olde Wolbers dissolve the familiarity that accumulates with time, habit and space. Lindberg pushes drawing on and off the page, obsessively inscribing lines that evade both resolution and definition. Dutch-born, London-based Wolbers orchestrates a cinematic fantasy with equal enigma. By submerging handmade sets into water and coaxing narratives to masquerade as reality, she melts the seemingly digital polish of her films with painterly contingency. The ensuing dialogue between the artist's works softens the geometry of the gallery space, obscuring hard lines and sharp corners to float towards a mysterious horizon.
Daniel Arsham: Erasing The Present (March 20-Aug. 16,
Curated by Steven Matijcio
The work of prodigious Cleveland-born artist Daniel Arsham is said to "make architecture do all the things it shouldn't." Blurring the lines between theatre and hallucination, some of his best-known works appear to melt the solidity of gallery walls, such that they appear to be dripping, folding, oozing or absorbing furniture. In more recent years he has begun to cast aging media devices — including cameras, film projectors and microphones — from granulated materials like volcanic ash, sand, crystal and crushed glass. This is the first large-scale Ohio exhibition for Arsham, who became widely known (at the age of 25) when asked to design a stage set for the legendary Merce Cunningham.
Albano Afonso: Self-Portrait As Light (March 20-Aug.
Co-Curated by Steven Matijcio and Alice Grey Stites
For Brazilian artist Albano Afonso light is the elusive, but no less essential element that makes painting, photography, film and vision itself possible. Through photographs, installations, projections and luminous objects he gives light a sculptural presence, and measures its ability to both elucidate and obscure. Such affect is spoken through the language of art history, as Afonso reformulates time-honored traditions of portraiture, still life, vanitas and landscape. This will be Afonso's first major exhibition in the United States, and it will extend across the CAC and 21c Museum Hotel.
James Lee Byars and
Matt Morris: the perfect kiss (QQ)* (April
17-Sept. 13, 2015)
Curated by Matt Morris
Throughout his life, American artist James Lee Byars (1932-97) framed his work with elusive notions of questioning and perfection. Both his enduring marriage and his flirtatiousness with German artist Josef Beuys (whom he sent lyrical letters and objects) serve as fodder for an exhibition that is both art and exchange. the perfect kiss (QQ)* is both a curatorial and creative undertaking for Morris, who will develop an installation of works by Byars in conjunction with a number of his own artistic interventions. The exhibition's title references a 1974 artwork by Byars, while also speaking to the 25th anniversary of Robert Mapplethorpe's exhibition The Perfect Moment.
Titus Kaphar: The Vesper Project (April 17 – Sept.
Co-Curated by Titus Kaphar and Steven Matijcio
Marrying appropriation, archaeology and iconoclasm, Kaphar's work sifts through the racial politics of art history. The Vesper Project is a massive sculptural statement in which his paintings are woven into the walls of a 19th century American house. It is the culmination of a five-year engagement with the lost storylines of the Vespers, a 19th century family who "passed" as a white family in New England even as their mixed heritage made them "Negro" in the eyes of the law. In this project, the members of this family and their histories are intertwined with Kaphar's autobiographical details, posing broader cultural questions of identity and truth.
Taylor Mac: An Abridged Concert of The History of
Political Popular Music (1939 – now) (September 2014)
Taylor Mac (who prefers the pronoun ‘judy’) is a “ragingly original and bracingly radical [and] best cabaret performer” from New York (TimeOut). The Obie Award-winning playwright, actor, and singer-songwriter transforms into a bedazzled creature who leads us into a decidedly personal history of music, ideas, and ways of being — in a hilarious and healing performance ritual. Mac delves deep into the history of political music for this performance, the latest in judy’s series of concerts exploring the last 240 years of popular songs in America. Funny and moving with a sweet, powerful voice, judy has the bantering skills of a veteran drag artist.
Ben Frost: A U R O R A live (October, 2014)
Ben Frost’s music is about contrast, influenced as much by classical minimalism as by punk rock and metal. It has a visceral presence, felt as much as heard. Muscular yet cerebral, ambient yet urgent, Frost’s compositions merge guitar-based textures, musique concrète samples, and building-shaking amplified electronics into sweeping digital soundscapes. A U R O R A is the Australian producer’s fifth album. The music leads the audience towards a bleak place filled with synthetic forms, decaying objects and metals devoid of emotion, exploring blinding luminescent alchemy; not with benign heavenly beauty but through decimating magnetic force. In 2010 he was awarded the music protégé in The Rolex Mentor and Protégé Arts Initiative and spent two years learning from and working with music producer, theorist, and composer, Brian Eno. Last year Frost debuted his first opera, The Wasp Factory, based on the Iain Banks novel and produced “The Enclave,” a multi-channel video and sound installation that premiered at the Venice Biennale.
Nils Frahm with Dawn of Midi (November 17, 2014)
Since his early childhood, Nils Frahm has been immersed in music, particularly in the styles of classical pianists before him as well as contemporary composers. Today Frahm works as an accomplished composer and producer from his Berlin-based Durton Studio. His unconventional approach to an age-old instrument, played contemplatively and intimately, has won him many fans around the world. Frahm displays an incredibly developed sense of control and restraint in his work, catching the ear of many fans. The recognition of his immense talent has been steadily growing thanks to his previous solo piano works, include Wintermusik (2009) and The Bells (2009), and Felt (2011). Last year, he returned with the celebrated new album Spaces, a collection of pieces that perfectly expresses Frahm’s love for experimentation and answers the call from his fans for a record that truly reflects what they have witnessed during his concerts.