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By now you know that Hudson Yards probably isn’t your jam.
The reviews have come in and they have been categorically negative. You have determined that the next time you want a million apartment or a Tank watch from Cartier or a pile of lentils topped with superfoods at Sweetgreen, you will go to the other locations in Manhattan that supply these things and don’t require the use of the 7 train.
You have, however, admittedly, always felt a subversive thrill engaging the utterly generic experience in New York City — sitting at the bar of a chain hotel, going to the mall. But now there are plenty of malls in New York and you have been to them — to the Time Warner Center, the Oculus, Brookfield Place, to City Point. You know what it is like to bear the enormous expense of living alongside the global ruling class while playacting that you are in White Plains or Paramus.
Many of the stores and restaurants in Hudson Yards opened several weeks ago and they are predictably filled with affluent-looking foreign tourists. And then there is the Shed, an ambitious 200,000-square-foot cultural center for the visual and performing arts that is opening this weekend, with much hope invested in the notion that it will serve a broader population.
The building means to set itself apart from the arid glass and steel towers in its proximity. Designed by the firm of Diller Scofidio + Renfro in collaboration with David Rockwell, the Shed is a low-rise structure encased in a quilted retractable shell that slides back and forth on enormous wheels, allowing for the expansion of theatrical space as well as the provision of metaphor — a rare sense of mobility and accommodation in an expansive development otherwise defined by the stagnancy and self-isolation of elites.
Observing the Shed from the High Line, you see that it emerges from the orifice of a soaring building, filled with offices and condominiums. Two different readings are available to us. From one perspective, the larger building is virtually giving birth to the smaller, coaxing us toward the suggestion that you cannot nurse creativity without capital, that money is the mother of any serious artistic effort. But when the exterior casing of the Shed is pulled back and the structures look like rail cars, another narrative is easily entertained — a train pushing its way into a terminal, an invasion.
Unlike so much of Hudson Yards, the Shed indeed extends itself to those beyond the payrolls of private equity professions. Tickets to events are well-priced, some as low as . A restaurant from Danny Meyer called Cedric’s is soon to appear in the lobby with nothing on the menu costing more than , including tip. The lobby, for that matter, has an earnestness and utility that other analogous spaces in the city tend to forfeit for grandeur. When you walk through the doors of the Metropolitan Opera, you imagine seeing people familiar to you from stippled drawings of The Wall Street Journal; at the Shed you foresee standing in line behind Scandinavian academics.
In its conception and programming, the Shed is ultimately an act of repentance for the sins that surround it — an attempt at making amends for all the greed and ostentation embodied in the billion playpen in which it has been sunk. To this end, an aesthetics of resistance has been cultivated.
One night next month, for example, the McCourt, a major theatrical space in the multilevel facility, will feature a presentation titled “Art and Civil Disobedience with Boots Riley.’’ Boots Riley is the activist rapper and filmmaker who was very involved in the Occupy movement in Oakland, California, someone who joined the Progressive Labor Party at the age of 15. His recent comedy, “Sorry to Bother You,” follows a young black telemarketer struggling to pay the rent who is courted by the temptations of selling out.
Not long after that event comes “Powerplay,’’ described in press material for the Shed as “a woman-centered celebration of radical art and healing created by multimedia artist Latasha.” Both presentations are offered in conjunction with DIS OBEY, the Shed’s program for New York City high school students from underserved communities, which focuses on social protest through the use of poetry. An exhibit by the conceptual artist Tony Cokes will explore gentrification.
What are we to make of these contradictions, of warrior spirits enabled by the enemy force? One theater at the Shed is named for its benefactor Ken Griffin, the hedge-fund manager who recently bought a penthouse on Central Park South for 8 million, the greatest sum of money ever paid for a home in this country. The construction of a billionaires’ principality in one of the most economically segregated cities on earth is of course the problem worth the angry iambic pentameter. The Shed, in the end, feels like the very generous birthday present you receive from the rich man who stole your wife.
On the way in or out of the Shed, you will be able to stop at an outpost of the McNally Jackson book store in the lobby, where you will not find the kind of books read by the kind of people occupying the offices in Hudson Yards. This is not the world of “Grit: The Power of Passion and Perseverance”; it is the world of small-press social critique and renegade voices.
When I visited on Wednesday, the books were cordoned off. But I immediately noticed a copy of “Vile Days,” a collection of columns by Gary Indiana written for The Village Voice in the 1980s chronicling the end of the avant-garde art scene in New York, the triumphs of vulgarity, consumerism and bad taste. Here, was the elegy as oracle.B:
【苏】【清】【身】【子】【刚】【好】，【就】【马】【上】【又】【来】【到】【了】【马】【厩】，【车】【夫】【孙】【伯】【还】【是】【已】【经】【在】【等】【他】【了】。【孙】【伯】【打】【量】【了】【他】【一】【下】： “【伤】【势】【恢】【复】【好】【了】？” “【嗯】，【多】【谢】【孙】【伯】。” 【孙】【伯】【笑】【了】【一】【下】，【说】： “【先】【别】【谢】【我】，【这】【才】【刚】【开】【始】。【咱】【们】【要】【继】【续】【了】，【能】【撑】【得】【住】【吗】？” “【当】【然】【可】【以】。【孙】【伯】【尽】【管】【来】【吧】！” 【孙】【伯】【布】【置】【好】【禁】【制】【空】【间】，【没】【有】【任】【何】【招】【呼】，【对】【着】
【童】【德】【阳】【听】【的】【一】【愣】，【心】【想】【这】【小】【子】【又】【要】【搞】【什】【么】，【怎】【么】【一】【会】【儿】【一】【个】【主】【意】？【从】【上】【海】【回】【来】【之】【后】【这】【小】【子】【的】【主】【意】【变】【多】【了】。 “【哦】？【那】【你】【说】【说】【你】【什】【么】【条】【件】？”【童】【德】【阳】【好】【奇】【的】【向】【张】【扬】【问】【道】。 “【哈】【哈】，【童】【叔】，【我】【这】【主】【意】【你】【只】【赚】【不】【亏】！【绝】【对】【是】【您】【赚】【了】！”【张】【扬】【很】【是】【开】【心】【的】【说】【道】。 【童】【德】【阳】【心】【说】【信】【你】【就】【有】【轨】【了】，【你】【丫】【眉】【毛】【都】【是】【空】【的】，【还】【有】【什】
【今】【天】【开】【了】【一】【天】【的】【会】，【回】【来】【累】【瘫】【了】，【明】【天】【还】【要】【加】【半】【天】【班】，【今】【天】【的】【更】【新】【明】【天】【补】！ 六和136期三中三资料“【假】【的】？”【沐】【灵】【一】【脸】【见】【怪】【不】【怪】【的】【模】【样】，“【苏】【公】【子】【怕】【不】【是】【在】【说】【笑】？” 【苏】【勉】【见】【沐】【灵】【不】【相】【信】【自】【己】【的】【话】，【有】【些】【急】【了】：“【好】【端】【端】【的】，【我】【骗】【你】【们】【做】【什】【么】？” 【沐】【灵】【冷】【哼】【一】【声】：“【这】【就】【要】【问】【苏】【勉】【公】【子】【自】【己】【了】，【想】【苏】【勉】【公】【子】【不】【是】【还】【故】【意】【设】【计】【将】【我】【沐】【家】【两】【名】【弟】【子】【骗】【去】【血】【魔】【洞】【么】？” 【苏】【勉】【顿】【时】【语】【塞】：“【我】……” 【当】【时】【他】【确】【实】【按】【照】
【第】【二】【天】【天】【一】【亮】，【龙】【在】【天】【便】【带】【着】【龙】【匪】【山】【众】【人】【离】【开】【了】【荒】【木】【镇】，【并】【且】【将】【晚】【上】【所】【产】【生】【的】【垃】【圾】【都】【一】【并】【清】【理】【干】【净】，【就】【像】【从】【未】【出】【现】【过】【一】【样】。 【龙】【匪】【山】【悄】【然】【离】【去】，【荒】【木】【镇】【大】【部】【分】【人】【都】【还】【在】【睡】【梦】【中】，【唯】【有】【一】【双】【美】【丽】【的】【眼】【睛】，【始】【终】【盯】【着】【这】【一】【支】【浩】【荡】【的】【队】【伍】，【正】【是】【谢】【语】【嫣】【的】。 【龙】【在】【天】【离】【开】【前】，【送】【给】【她】【了】【一】【个】【月】【牙】【形】【吊】【坠】，【是】【用】【黄】【石】【雕】【琢】【而】【成】
“【前】【辈】，【要】【不】【是】【阵】【法】【神】【奇】，【又】【如】【何】【能】【够】【瞒】【过】【那】【么】【多】【高】【手】【的】【探】【查】，【也】【不】【至】【于】【这】【么】【多】【年】【都】【没】【被】【人】【发】【现】。”【黄】【逍】【说】【道】。 “【就】【算】【如】【此】，【这】【道】【阵】【法】【也】【太】【过】【惊】【人】【了】【一】【些】。”【轩】【辕】【前】【辈】【脸】【色】【有】【些】【凝】【重】【道】，“【老】【夫】【曾】【见】【识】【过】【青】【铜】【钥】【匙】【对】【应】【的】【几】【处】【灵】【地】，【那】【些】【灵】【地】【的】【阵】【法】【远】【不】【及】【这】【里】。” “【真】【的】？”【霍】【炼】【有】【些】【惊】【讶】【道】。 “【怎】【么】？
【舒】【静】【好】【一】【脸】【莫】【名】【其】【妙】【的】【看】【着】【他】，【眼】【带】【困】【惑】【不】【解】。 “【我】【给】【你】【变】【个】【魔】【术】，【把】【虚】【幻】【变】【成】【现】【实】。” 【龙】【亦】【涵】【坏】【坏】【一】【笑】，【看】【了】【眼】【由】【远】【到】【近】【的】【云】【朵】，【伸】【手】【往】【那】【云】【朵】【里】【一】【抓】。 【舒】【静】【好】【刚】【想】【嘲】【笑】【他】，【却】【看】【到】【他】【收】【回】【手】【的】【那】【一】【刻】，【瞬】【间】【傻】【愣】【了】【在】【那】。 【他】、【他】【真】【的】【拿】【到】【了】？！ 【龙】【亦】【涵】【不】【知】【从】【何】【时】【手】【里】【多】【了】【一】【根】【细】【长】【小】【小】【的】【棍】