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nycartscene: Opens Tonight, Feb 2, 6-8p:Jon Kessler: “The Blue Period”Salon 94 Bowery, 243 Bowery, NYC (bt Stanton & Rivington)an immersive installation featuring kinetic machines, surveillance cameras, video monitors and life-size cardboard figures. This video-drenched panopticon is the culmination of Kessler’s longtime interest in surveillance, alienation and spectacle. First shown in Berlin in 2007, this is the work’s first installation in the US.The Blue Period is a spiritual descendant of Society as Spectacle, Guy Debord’s seminal 1967 critique of the ascendant consumer culture, and the general passivity and isolation it engenders. Riffing on Debord and his fellow Situationists, Kessler has constructed a controlled environment in which social relations are mediated through images of a fabricated, inaccessible reality. -thru Mar 10 reminds me of the protest scene from Rent
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nycartscene: Opens Tonight, Feb 2, 6-8p:Jon Kessler: “The Blue Period”Salon 94 Bowery, 243 Bowery, NYC (bt Stanton & Rivington)an immersive installation featuring kinetic machines, surveillance cameras, video monitors and life-size cardboard figures. This video-drenched panopticon is the culmination of Kessler’s longtime interest in surveillance, alienation and spectacle. First shown in Berlin in 2007, this is the work’s first installation in the US.The Blue Period is a spiritual descendant of Society as Spectacle, Guy Debord’s seminal 1967 critique of the ascendant consumer culture, and the general passivity and isolation it engenders. Riffing on Debord and his fellow Situationists, Kessler has constructed a controlled environment in which social relations are mediated through images of a fabricated, inaccessible reality. -thru Mar 10 reminds me of the protest scene from Rent
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nycartscene:

Opens Tonight, Feb 2, 6-8p:

Jon Kessler: “The Blue Period”

Salon 94 Bowery, 243 Bowery, NYC (bt Stanton & Rivington)

an immersive installation featuring kinetic machines, surveillance cameras, video monitors and life-size cardboard figures. This video-drenched panopticon is the culmination of Kessler’s longtime interest in surveillance, alienation and spectacle. First shown in Berlin in 2007, this is the work’s first installation in the US.

The Blue Period is a spiritual descendant of Society as Spectacle, Guy Debord’s seminal 1967 critique of the ascendant consumer culture, and the general passivity and isolation it engenders. Riffing on Debord and his fellow Situationists, Kessler has constructed a controlled environment in which social relations are mediated through images of a fabricated, inaccessible reality. -thru Mar 10

reminds me of the protest scene from Rent

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