by cferer on March 24, 2015

Just a subway ride …about 30 minutes from midtown at theThe Enid A. Haupt Conservatory at the New York Botanical Garden is  the most spectacular show  of living chandeliers for this year’s Orchid Show.

Its open through April 19th and is not to miss.  Check it out at s filled with an array of living chandeliers for this year’s Orchid Show.

The variety and the enormity of these huge orchid displays are truly stunning.  And, what is truly fabulous are their orchid evenings. Magical.

Their website says it best…”The New York Botanical Garden has taken its annual Orchid Show to new heights. For this year’s exhibition, which opened Saturday, the garden’s team, led vice president of glasshouses and exhibitions Francisca Coelho, created orchid-filled chandeliers that hang throughout the seasonal exhibitions galleries of the Enid A. Haupt Conservatory. The result is a space that surrounds visitors with the intoxicating sight and smell of orchids. The centerpiece of the show is a spectacular three-tiered, star-shaped chandelier that overflows with blooms. “This is the 13th annual show, and we’re always looking for a different angle,” says Karen Daubmann, associate vice president for exhibitions. “We want to get orchids as close to visitors as possible. We’ve had columns and arches, but we thought, ‘What if we just tell people to look up?’ ”

Check out more at

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Some from MOMA

by cferer on March 10, 2015

Scenes for a New Heritage: Contemporary Art   is only on til March 31 at MOMA. Don’t miss it.  I found some amazing videos works there that are from the Collection and part of a sweeping reinstallation of MoMA’s Contemporary Galleries.  Moma describes it “This cross-medium selection of works, created in the past three decades by more than 30 international artists, represents a wide range of approaches to the political, social, and cultural flux that have shaped the current global landscape. Some of these artists use the lens of history—reflecting on past events or centuries-old artistic traditions—as a means of assessing current conditions. In Scene for a New Heritage, the project that lends the exhibition its title, Croatian artist David Maljković uses an abandoned socialist monument to imagine an alternate future, one informed by events of the past but never realized. ”

“Ash Wednesday  “Brazilian artists Rivan Neuenschwander and Cao Guimaraes astounds as ants with a video of ants on parade…just like a festive Brazilian version of Carnivale.  One curator at The Box explains

Artists Cao Guimarães and Rivane Neuenschwander shift the focus of Ash Wednesday from the heavenly and human realms to a decidedly more ground-level perspective. The moveable fast becomes a moveable feast, if you know where to look. Quarta-feira de cinzas/Epilogue prowls the distinctive red clay soil of the state of Minas Gerais to observe ants as they encounter colorful confetti left over from the human revelries the night before. The use, meaning, and ownership of these objects shifts to the ants and new, mysterious pageantries form. Colorful parades take shape. Squabbles, turf wars, and old rivalries are enflamed. The ants are dwarfed by these vivid orbs but carry them up hillsides with the greatest of ease. It’s as if Sisyphus was part of a samba school. The video concludes with the ants taking their hauls down into the depths of their nest, as if they were cleaning up the aftermath of carnival and continuing the party in their realms. Guimarães and Neuenschwander enabled this microscopic spectacle by soaking the confetti in sugar, a surefire way to kickstart any ant party.”


Indian artist, Nalini Malani ‘s installation of “Game pieces”

gently spins around 6 mylar cylinders painted on the reverse with images

and are lit by video projections…and the shadows of the images project on a huge wall.

Some of these reflections and shadow tell a story of the horror of the mushroom clouds that destroyed Nagasaki.Hindu Gods and demons

pop up in animation to attempt to erase the horror.

Malani’s work is influenced by her experiences as a refugee of the Partition of India. She places inherited iconographies and cherished cultural stereotypes under pressure. Her point of view is unwaveringly urban and internationalist, and unsparing in its condemnation of a cynical nationalism that exploits the beliefs of the masses. Hers is an art of excess, going beyond the boundaries of legitimized narrative, exceeding the conventional and initiating dialogue.
Characteristics of her work have been the gradual movement towards new media, international collaboration and expanding dimensions of the pictorial surface into the surrounding space as ephemeral wall drawing, installation, shadow play, multi projection works and theatre.

Made under a diverse range of geographic, political, social, and aesthetic circumstances, the works in the exhibition propose one perspective on the Museum’s collection; seen alongside one another, they allow for a reflection not only on their discrepancies, differences, and contradictions, but also on their shared concerns.

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