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Colorful caverns
“Daedalum — Architects of Air” | Sept. 11-21 | $7 | All ages, under 16 need adult accompaniment
“Daedalum” is an inflatable sculpture handmade in Nottingham, England by the Alan Parkinson-led group Architects of Air. The art installation takes its name from Daedalus, the Greek inventor from myth who built King Minos of Crete’s Labyrinth.
The experience of “Daedalus” took the concept of a labyrinth a step further, with a bounce house-meets-cathedral vibe. Ambient sound resonated lightly in the background as visitors walked through a series of interconnected, spherically shaped rooms featuring vaulted ceilings drenched in various colors. Each room contains little alcoves which form semi-circle nooks. Many of these nooks were illuminated in elongated ovals, resembling either candle flames or the pupils in a reptile’s eyes.
A map was provided, but I found it most enjoyable to follow my whim as I wandered the space. It was exciting to wander aimlessly and attempt to find a still-undiscovered pathway. It might have been a more profound experience had I been in the structure alone without having to contend with the conversations of my fellow visitors; the sculpture was clearly created with reflection and contemplation in mind.
At first, the whole thing felt gimmicky and underwhelming, like an art project concocted by a marketing team. But as I spent time in individual rooms, the colors that inhabited them gave each space a specific character. The comparatively bright yellow and red sections were more impressive and had a feeling of transcendence. In the liminal spaces where red and blue light commingled, the purple and pink sections of the labyrinth felt the most prayerful and introspective. The coolest section was the “tree” room, in which greens, blues and red converged and the circles formed by negative space appeared to form clusters of leaves. A single plastic pillar shared by three separate rooms formed the tree itself.
It’s worth taking extra time to experience the space on your own terms. By the end of my journey, I was surprised to find it difficult to leave, as if I’d experience something revelatory if I only lingered a little longer. —DANIEL J. KUSHNER
Corporeal poetry
“Cirque du Fringe: Varieté” | Spiegeltent | Sept. 10-21 | $23 - $147 | Ages 13+ (Saturday matinees 5+)
Matt and Heidi Morgan, Rochester Fringe Festival favorites since 2015, have wisely relegated themselves to supporting players in “Cirque du Fringe: Varieté,” their latest show under the big tent. Their appearances as bad joke-cracking puppet emcees Ernie and Petunia punctuate the real money-makers here: dazzling feats of corporeal poetry performed by international talents that offer a complete reconsideration of the human body’s capabilities.
Two energetic Argentinian gauchos make a rhythmic melange using ropes, their own heels and shoulder-slung drums; they were the clear opening-night crowd favorites, still with plenty of competition. A wonderfully enigmatic aerialist suspended by her own hair — spinning and swirling several feet above the stage — was a close second. As she twirls, her graceful movements hew closer to swimming or figure skating, almost erasing the thought of the pain necessary to keep her dangling. A magic trick with practical effects.
Not to mention the lounge-singing, ukulele-playing tap dancer on roller skates.
True to its name, “Varieté” follows a variety-show template, though the staging is an unmistakable circus. The handful of microphone hiccups throughout its first performance reinforced the desire to simply behold these sights: Harlem Globetrotter-esque basketball juggling; a hula hooper seemingly multiplying rings as she spins six on her four limbs; a literal balancing act involving furniture and unimaginable core strength.
The grand finale centers around the Duo Rose trapeze artists, whose entire routine is a love poem written in undulating movements of the limbs. From the ceiling of the tent, they drip romance instead of sweat.
All of this splendor makes the limitations of the Morgans’ puppet performance more stark, something they seem to relish in Ernie and Petunia’s final appearance. No spoilers, but it’s akin to witnessing the Dracula musical from “Forgetting Sarah Marshall” as the wheels come off in real time. In short, “Varieté” is a joy — and a complete collection of physical bodily wonders to get lost in. —PATRICK HOSKEN
Rooted in the community
“Craig Walsh, MONUMENTS” | Sept. 11-21 | Free | All ages
Australian artist Craig Walsh brings back his “MONUMENTS” installation for a second year, once again in the parking lot across the Third Presbyterian Church on East Avenue and Meigs Street. At 8 p.m. promptly, three different faces emerged on three trees, representing a trio of local unsung heroes: community garden volunteer Ann Culbreth, musical philanthropist Bruce Schaubroeck of House of Guitars and LGBTQ+ advocate Kristin “Kat” Sweeney.
The installation requires patience on the part of the visitor. Video of the subjects is on a six-minute loop, and for much of that time, the faces appear still. In brief moments, the blink of an eye or a yawn had a dramatic effect, giving the impression of witnessing real-life ents from J.R.R. Tolkien’s “The Lord of the Rings.” The tree branches and negative space between the foliage form wrinkles in the faces, bestowing added wisdom. It felt significant that the faces were projected on trees — themselves living things with deep roots. The analogy was simple, effective and beautifully rendered.
The visuals become more striking the farther back they are observed. As I moved toward the trees, the images began to break and become more abstract, as if deteriorating before my very eyes. Ultimately, viewing “MONUMENTS” is a reverent experience, providing visitors with time to consider the positive impact myriad local citizens can have on our community. —DANIEL J. KUSHNER
“Daedalum — Architects of Air” | Sept. 11-21 | $7 | All ages, under 16 need adult accompaniment
“Daedalum” is an inflatable sculpture handmade in Nottingham, England by the Alan Parkinson-led group Architects of Air. The art installation takes its name from Daedalus, the Greek inventor from myth who built King Minos of Crete’s Labyrinth.
The experience of “Daedalus” took the concept of a labyrinth a step further, with a bounce house-meets-cathedral vibe. Ambient sound resonated lightly in the background as visitors walked through a series of interconnected, spherically shaped rooms featuring vaulted ceilings drenched in various colors. Each room contains little alcoves which form semi-circle nooks. Many of these nooks were illuminated in elongated ovals, resembling either candle flames or the pupils in a reptile’s eyes.
A map was provided, but I found it most enjoyable to follow my whim as I wandered the space. It was exciting to wander aimlessly and attempt to find a still-undiscovered pathway. It might have been a more profound experience had I been in the structure alone without having to contend with the conversations of my fellow visitors; the sculpture was clearly created with reflection and contemplation in mind.
At first, the whole thing felt gimmicky and underwhelming, like an art project concocted by a marketing team. But as I spent time in individual rooms, the colors that inhabited them gave each space a specific character. The comparatively bright yellow and red sections were more impressive and had a feeling of transcendence. In the liminal spaces where red and blue light commingled, the purple and pink sections of the labyrinth felt the most prayerful and introspective. The coolest section was the “tree” room, in which greens, blues and red converged and the circles formed by negative space appeared to form clusters of leaves. A single plastic pillar shared by three separate rooms formed the tree itself.
It’s worth taking extra time to experience the space on your own terms. By the end of my journey, I was surprised to find it difficult to leave, as if I’d experience something revelatory if I only lingered a little longer. —DANIEL J. KUSHNER
Corporeal poetry
“Cirque du Fringe: Varieté” | Spiegeltent | Sept. 10-21 | $23 - $147 | Ages 13+ (Saturday matinees 5+)
Matt and Heidi Morgan, Rochester Fringe Festival favorites since 2015, have wisely relegated themselves to supporting players in “Cirque du Fringe: Varieté,” their latest show under the big tent. Their appearances as bad joke-cracking puppet emcees Ernie and Petunia punctuate the real money-makers here: dazzling feats of corporeal poetry performed by international talents that offer a complete reconsideration of the human body’s capabilities.
Two energetic Argentinian gauchos make a rhythmic melange using ropes, their own heels and shoulder-slung drums; they were the clear opening-night crowd favorites, still with plenty of competition. A wonderfully enigmatic aerialist suspended by her own hair — spinning and swirling several feet above the stage — was a close second. As she twirls, her graceful movements hew closer to swimming or figure skating, almost erasing the thought of the pain necessary to keep her dangling. A magic trick with practical effects.
Not to mention the lounge-singing, ukulele-playing tap dancer on roller skates.
True to its name, “Varieté” follows a variety-show template, though the staging is an unmistakable circus. The handful of microphone hiccups throughout its first performance reinforced the desire to simply behold these sights: Harlem Globetrotter-esque basketball juggling; a hula hooper seemingly multiplying rings as she spins six on her four limbs; a literal balancing act involving furniture and unimaginable core strength.
The grand finale centers around the Duo Rose trapeze artists, whose entire routine is a love poem written in undulating movements of the limbs. From the ceiling of the tent, they drip romance instead of sweat.
All of this splendor makes the limitations of the Morgans’ puppet performance more stark, something they seem to relish in Ernie and Petunia’s final appearance. No spoilers, but it’s akin to witnessing the Dracula musical from “Forgetting Sarah Marshall” as the wheels come off in real time. In short, “Varieté” is a joy — and a complete collection of physical bodily wonders to get lost in. —PATRICK HOSKEN
Rooted in the community
“Craig Walsh, MONUMENTS” | Sept. 11-21 | Free | All ages
Australian artist Craig Walsh brings back his “MONUMENTS” installation for a second year, once again in the parking lot across the Third Presbyterian Church on East Avenue and Meigs Street. At 8 p.m. promptly, three different faces emerged on three trees, representing a trio of local unsung heroes: community garden volunteer Ann Culbreth, musical philanthropist Bruce Schaubroeck of House of Guitars and LGBTQ+ advocate Kristin “Kat” Sweeney.
The installation requires patience on the part of the visitor. Video of the subjects is on a six-minute loop, and for much of that time, the faces appear still. In brief moments, the blink of an eye or a yawn had a dramatic effect, giving the impression of witnessing real-life ents from J.R.R. Tolkien’s “The Lord of the Rings.” The tree branches and negative space between the foliage form wrinkles in the faces, bestowing added wisdom. It felt significant that the faces were projected on trees — themselves living things with deep roots. The analogy was simple, effective and beautifully rendered.
The visuals become more striking the farther back they are observed. As I moved toward the trees, the images began to break and become more abstract, as if deteriorating before my very eyes. Ultimately, viewing “MONUMENTS” is a reverent experience, providing visitors with time to consider the positive impact myriad local citizens can have on our community. —DANIEL J. KUSHNER
