Latest news with #TheShed
Forbes
2 days ago
- Entertainment
- Forbes
Early-Career NYC Artists Display New Work At The Shed In Hudson Yards
Twelve early-career, New York City-based artists and collectives have created new works for Open Call: Portals , a free group exhibition on display through August 24 in the Level 2 Gallery and on the outdoor Plaza of the Shed, in Hudson Yards. Installation view, "Open Call, Portals," at the Shed in NYC's Hudson Yards Adam Reich Open Call: Portals features new works ranging from painting and film to sculpture and performance by Zain Alam, AYDO, Mel Corchado, Marwa Eltahir, Patricia Encarnación, Laurena Finéus, Lily Honglei, Tyson Houseman, Jarrett Key, Chelsea Odufu, Victor 'Marka27' Quiñonez, and Yelaine Rodriguez and Luis Vasquez La Roche. According to the Shed, each artist is 'exploring forces shaping our world, including colonialism, migration, and environmental crisis. 'Beyond the theme of this exhibition, we're thinking about portals as invitations,' said Darren Biggart, Director of Civic Programs. 'We hope that audiences find many entry points to engage with new ideas and connect with new communities. These 12 multivalent works provide diverse and unique openings to examine complex ideas and envision a better future.' 'These works by artists living and, or working in New York City remind us that identity, memory, and belonging are shaped not in isolation but in the unpredictable interstices of history and the present,' said Dejá Belardo, Assistant Curator of Visual Arts and Civic Programs. 'In doing so, the exhibition Open Call: Portals subverts the typical understanding of its title. Instead of spaces meant solely for moving from one point to another, portals in this exhibition open a third space where we might linger, inhabiting the forgotten and the imagined.' The exhibition also includes public programs, conversations and performances with the artists and their collaborators. Tickets are free to all Open Call events with a reservation at The Shed said Open Call embodies its 'core mission to champion innovative art and ideas across all disciplines; it provides crucial support to these emerging voices, offering each artist a commissioning fee of up to $15,000, tailored to the scope of their project. In addition to financial support, The Shed provides comprehensive production support and resources, empowering artists to fully realize their creative visions.' Launched as part of The Shed's inaugural-year program, Open Call is a large-scale commissioning program. Since its inception, Open Call—now in its fourth iteration— has produced new work by over 100 artists and collectives, many of whom have gone on to be recognized by the Whitney Biennial, the Bronx Museum's AIM Biennial, the Lucille Lortel Awards, the Bessies, MacDowell, United States Artists, Disability Futures Fellows, Creative Capital, the Jerome Foundation, the Joan Mitchell Foundation, and more. Each artist received commissioning fees, production support, and experience working with a large cultural institution and navigating the commissioning process. Open Call: Portals features new works ranging from painting and film to sculpture and performance by Zain Alam, AYDO, Mel Corchado, Marwa Eltahir, Patricia Encarnación, Laurena Finéus, Lily Honglei, Tyson Houseman, Jarrett Key, Chelsea Odufu, Victor 'Marka27' Quiñonez, and Yelaine Rodriguez and Luis Vasquez La Roche. According to the Shed, each artist is 'exploring forces shaping our world, including colonialism, migration, and environmental crisis. 'Beyond the theme of this exhibition, we're thinking about portals as invitations,' said Darren Biggart, Director of Civic Programs. 'We hope that audiences find many entry points to engage with new ideas and connect with new communities. These 12 multivalent works provide diverse and unique openings to examine complex ideas and envision a better future.' 'These works by artists living and, or working in New York City remind us that identity, memory, and belonging are shaped not in isolation but in the unpredictable interstices of history and the present,' said Dejá Belardo, Assistant Curator of Visual Arts and Civic Programs. 'In doing so, the exhibition Open Call: Portals subverts the typical understanding of its title. Instead of spaces meant solely for moving from one point to another, portals in this exhibition open a third space where we might linger, inhabiting the forgotten and the imagined.' The exhibition also includes public programs, conversations and performances with the artists and their collaborators. Tickets are free to all Open Call events with a reservation at The Shed said Open Call embodies its 'core mission to champion innovative art and ideas across all disciplines; it provides crucial support to these emerging voices, offering each artist a commissioning fee of up to $15,000, tailored to the scope of their project. In addition to financial support, The Shed provides comprehensive production support and resources, empowering artists to fully realize their creative visions.' Launched as part of The Shed's inaugural-year program, Open Call is a large-scale commissioning program. Since its inception, Open Call—now in its fourth iteration— has produced new work by over 100 artists and collectives, many of whom have gone on to be recognized by the Whitney Biennial, the Bronx Museum's AIM Biennial, the Lucille Lortel Awards, the Bessies, MacDowell, United States Artists, Disability Futures Fellows, Creative Capital, the Jerome Foundation, the Joan Mitchell Foundation, and more. Each artist received commissioning fees, production support, and experience working with a large cultural institution and navigating the commissioning process.
Express Tribune
21-07-2025
- Entertainment
- Express Tribune
Zoe Kravitz and Austin Butler spark dating buzz after NYC theater outing
Zoe Kravitz and Austin Butler were spotted attending an immersive theater experience together in New York City, reigniting ongoing rumors of a real-life romance. The duo, who co-star in the upcoming film Caught Stealing, were seen at 'Viola's Room' by immersive theater group Punchdrunk at The Shed in Hudson Yards last weekend. Multiple sources confirmed the actors arrived and left the show together, accompanied by their Caught Stealing director Darren Aronofsky. The sighting adds new fuel to reports that Kravitz and Butler grew close during the filming of their movie, where they were seen kissing on set in October 2024. The rumors first emerged in April 2025, shortly after Kravitz ended her engagement to actor Channing Tatum following a three-year relationship. Butler also reportedly ended his long-term relationship with model Kaia Gerber around the same time. 'Viola's Room,' created by the team behind the popular show Sleep No More, is a dark, immersive experience that features a barefoot audience and narration by Helena Bonham Carter through headphones. Known for drawing celebrity attendees, the show's intimate format adds to the intrigue of Kravitz and Butler's joint appearance. While Butler's representative has previously denied any romantic involvement, neither star has addressed the rumors publicly. Their upcoming film, Caught Stealing, is based on the novel by Charlie Huston, who also wrote the screenplay. Butler plays a washed-up baseball player caught in the criminal underworld of 1990s New York. With public appearances like this adding to speculation, fans will be closely watching the duo as the film's release approaches.
7NEWS
16-07-2025
- General
- 7NEWS
'Technical mastery and social awareness': Winners of the 2025 Tasmanian Architecture Awards
Technical mastery and deep social awareness were the key components showcased in this year's Tasmanian Architecture Awards. Held annually, The Australian Institute of Architects announced the winners of the 2025 awards at a celebration in Launceston. Across the 10 categories, a variety of distinct projects were awarded including a Richmond vineyard's tasting room, Glenorchy Ambulance Station, an exemplary coastal home and a boldly coloured childcare centre. Jury Chair for the 2025 Tasmanian Architecture Awards, Sarah Lindsay, said this year's projects sparked "rich and thought-provoking conversations". Lindsay went on to say the winners touched on important and timely themes including "sustainable forestry practices, trauma-informed design, education pedagogies, and the urgent housing crisis." "These discussions reminded us of the profound role architecture plays in shaping not just our built environment, but our collective future," she said. In a statement, the jury said the projects demonstrated that Tasmania's architects understood "how our built environment intersects with climate resilience, social inclusion, and cultural continuity." "Across all scales and typologies, we witnessed a consistent dedication to enhancing the human experience and enriching the fabric of our communities," the statement read. Two projects were each recipients of three awards. The Shed, University of Tasmania by Wardle, took out the awards for Educational Architecture and Interior Architecture, and a commendation for Sustainable Architecture. Notes from the jury commended The Shed on its ability to "elevate educational environments through spatial generosity, environmental responsibility, and a deep connection to place." Tolpuddle Tasting Room by Tanner Architects won theCommercial Architecture and the EmAGN Project Awards, and received a commendation for Sustainable Architecture. The jury said the project exemplified "a refined and disciplined approach to commercial architecture, achieving balance between agricultural authenticity and architectural sophistication." On the residential side, Jordan House by Preston Lane was awarded for Residential Architecture - Houses (Alterations and Additions) and received a commendation for the Colorbond Award for Steel Architecture. Of the project, the jury said Preston Lane has created a "deliberate separation between the addition and the original rear facade, together with a restrained material palette, has enabled the careful reconstruction of heritage elements, offering a moment of pause to appreciate the historic dwelling in its entirety." Stunning coastal home Nebraska by Lara Maeseele received the award for Residential Architecture - Houses (New). The jury were impressed by the project's "careful arrangement of five bedrooms that supports communal holiday living while maintaining a sense of intimacy and retreat." The Tasmanian Architecture Awards 2025 winners: COLORBOND Award for Steel Architecture Award for Commercial Architecture Award for Educational Architecture Glenorchy Ambulance Station - Morrison & Breytenbach Architects Award for Heritage Phillip Smith Centre - Lovell Chen Award for Interior Architecture Commendation Nebraska - Lara Maeseele Award for Residential Architecture - Multiple Housing Commendation Allunga Road Multi - Preston Lane Award for Small Project Architecture Commendation Chroma Tunnel - Room 11 Architects Award for Sustainable Architecture Commendation Tolpuddle Tasting Room - TANNER ARCHITECTS The St Lukes Building - TERRIOR The Shed, University of Tasmania - Wardle Phillip Smith Centre - Lovell Chen Award for Enduring Architecture Henty House - Peter Partridge (Department of Housing and Construction) The EmAGN Project Award Tolpuddle Tasting Room - TANNER ARCHITECTS Emerging Architect Prize Elizabeth Walsh RAIA & Alex Nielsen RAIA - So. Architecture SWT Blythe Student Prize Asyndeton - Pei Kai Tan
Fast Company
09-07-2025
- Entertainment
- Fast Company
Inside the making of Punchdrunk's new immersive ‘gothic fairytale'
'Shhhh,' Helena Bonham Carter is whispering in my ear. 'Let me tell you a story, from long, long ago.' I am lying on a mattress in a wallpapered bedroom that seems plucked from the 1990s. There are Keith Haring drawings, Tori Amos posters, and a shelf-full of teddy bears. Bonham Carter's voice, coming in through a headset, is talking about a princess named Viola. Her voice—spectral, beguiling—is about to guide me through a dizzying dreamscape of mazes and dark corridors, and it's all part of a spectacular new show by Punchdrunk. Until now, the British theater company has been known for its highly immersive productions like Sleep No More and The Burnt City. A Punchdrunk performance typically encourages spectators to roam freely and interact with masked actors who might whisk you into a cupboard or slip a note into your hand. But Viola's Room, staged inside The Shed in New York City, marks a departure from this model: There is only one prescribed path. And instead of interacting with masked actors, you are the actor. 'What Punchdrunk is all about is a physical activation of the body. It's about putting the audience at the center,' Punchdrunk's founder, Felix Barrett, told me. 'If you're stood up, and you are having to make decisions, or you're having to deal with a perceived threat, suddenly the flood of adrenaline sends all your blood to your skin.' 'Follow the light' Viola's Room was adapted from a 1901 gothic mystery story by the English horror writer Barry Pain. The Punchdrunk version was written by Booker Prize short-listed author Daisy Johnson, and it follows the story of Princess Viola, who leaves the safety of her home and ventures into a shadowy dream world where her sense of self begins to dissolve. Of all the stories Punchdrunk has crafted, this one is Barrett's favorite. 'There's something about it, where the atmosphere is so thick, and it's because it's so controlled,' he says. Barrett staged an early version of Viola's Room back in 2000. Then called The Moon Slave, it took place inside a 13-acre walled garden, where spectators were guided by staff holding burning torches. When the team revived the show (it first ran in London in 2024), they had to rethink how to replicate the concept indoors. Barrett wanted something ephemeral, 'like the ghost of Helena taking you by the hand,' he says, and he eventually landed on fiber-optic lights the size of a grain of barley. (Standard LEDs were too bright.) Spectators are now guided through the space by a synchronized mix of Bonham Carter's voice and more than 1,500 individual light fixtures concealed inside woolly gray clusters designed to resemble tiny, stormy clouds. Every light is an invitation to move forward through the sinuous set: If a lamp lights up, you walk toward it. If it doesn't, you stay put. At times, I found myself in complete darkness, without so much as an exit sign lurking in a corner. Barrett says enough visitors in London got spooked that they decided to assure people at The Shed that there are no jump scares. To further amp the senses, visitors are invited to experience the show barefoot, and every room is bathed in a custom scent. 'When you're light-deprived, all other senses kick in,' says Alex Poots, the artistic director and CEO of The Shed. These moments of pitch black called for special permission from local authorities, as total darkness goes against U.S. fire codes. Poots says Viola's Room is one of a few shows in America that's gotten permission to go complete black, and he notes that a team backstage monitors spectators via a bevy of infrared cameras and can intervene within a minute of a fire alarm sounding. A fairytale in Manhattan Viola's Room is an intimate affair designed for a maximum of six people. (People with wheelchairs can book private visits to experience the show, which is fully ADA accessible.) I visited on a clammy Tuesday evening. Outside, Manhattan was gearing up for happy hour. People were sipping Aperol spritzes, and tourists were traipsing up and down the High Line. Inside, I felt like I'd stepped into a fairytale gone wrong. The set design, by Barrett and Casey Jay Andrews, contributed to the realism. Barrett started by drawing the 'shape of the show' on a piece of paper—a line, a square, a line, a square—before adding layers of texture, a bit like a painting. To visualize the whole thing, he then worked with a team of model makers who spent months making copies of each room, then lighting them from within. For Viola's teenage bedroom, Barrett drew inspiration from his younger brother's bedroom and stuffed it with '90s ephemera he sourced from vintage shops and markets around London. Elsewhere, corridors narrowed under flickering lights. Closets opened into secret rooms. A miniature tree encased in jelly later came back as a giant tree towering over an entire room. With nowhere else to go but straight, the experience doesn't allow for any meandering, but the curious mind will be rewarded with 'treats' or easter eggs the team peppered throughout the show. (The jelly-encased tree is one of them). 'I'm a real believer that as long as one person finds it, it's absolutely valid,' Barrett says. 'In fact, if one person finds something that no one else does, then it's their gift. It's their discovery.' The show is on view through October 19.
Daily Mail
03-07-2025
- Entertainment
- Daily Mail
Where are the Hemsworths? Chris and Elsa have not been seen together in weeks as they take separate trips away despite both being in Europe
and Elsa Pataky appear to be making the most of their European summers separately. The Thor star, 41, and the Spanish actress, 48, haven't been pictured together in weeks as they enjoyed separate trips away. Chris shared a post to Instagram last month which featured a series of snaps from a beachside escape in Hossegor, France with his longtime personal trainer and best mate Luke Zocchi. His parents Leonie and Craig also joined him on the relaxing getaway. Chris' wife Elsa enjoyed her own holiday in her native Spain, also posting several snaps to Instagram just days later. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, . They were pictured together one week prior to their holidays as they supported their son Sasha at his surfing competition in Byron Bay. The Hemsworths have made Byron Bay their home in recent years, and the actor has frequently shared glimpses of their laid-back, surf-filled lifestyle on social media. The couple purchased their sprawling 4.2-hectare estate in Byron Bay back in 2014 for $7million, eventually constructing a $50million mega mansion on the site. The property features six bedrooms, a spa, games and media rooms as well as sprawling outdoor living areas. Chris recently revealed a new addition to the sprawling property - a lavish home gym. The Thor star created a state-of-the-art training facility called The Shed for his fitness brand, Centr, which was unveiled in January. Speaking to Hemsworth's personal trainer and business partner, Luke Zocchi, explained that the facility serves as a space for Centr trainers to test new workouts and equipment while also having fun. 'It's definitely next level,' Zocchi said. They were pictured together one week prior to their holidays as they supported their son Sasha at his surfing competition in Byron Bay 'Chris made sure to include the latest and greatest Centr equipment in the gym.' He mentioned that much of the equipment at The Shed -which includes treadmills, cable machines, weight benches, and power racks - is currently unavailable in Australia. 'Some of the equipment isn't available in Australia yet, but will be soon,' Zocchi revealed. 'It's where Chris, the boys, and I can come through for a session, or we can just chill and recover when we need to. 'It's a place to really get after it or reset, depending on what we need.'
