Probing, enlightening, hypnotic and playful, ‘IRIS’ – the unique digital art installation – is a mesmerising sensory experience that visitors to the Lowry are going to ADORE! Last night was our first opportunity to see it, FEEL it, and to fall in love with it at the world premiere, as well as to meet the Director of this laser and robotic feast, Ersin Han Ersin.
Fresh from a win at the 2017 Tribeca Film Festival for the virtual reality experience ‘Treehugger: Wawona’, Ersin had completed a successful ‘IRIS’ rehearsal earlier in the day; yet as VIP guests filtered into The Quay Club – swooping up cocktails that were as inviting as the day’s blissfully sunny skies – Ersin admitted to feeling (understandably) a little nervous: “I want people to find it spectacular,” he confides. “Usually, our production company, Marshmallow Laser Feast, designs for the stage. In this case, the commission was to create something for the auditorium that responds to the architecture of the Lyric Theatre.
‘The theatre is always the theatre. We have tweaked and played with the architecture – shrinking it and expanding it using laser lights. It’s abstract, ephemeral; there’s no clear narrative. People create that through their own response to it. We wanted to take people to a space that is changing and then leave them with that space – and hopefully breathless.”
It’s a hope that The Lowry’s Chief Executive Officer, Julia Fawcett OBE, shares: “Contemporary art, digital art… these can be a challenge. Our Digital Programme is about finding ways of opening up people, so that they bring no prejudgment; they haven’t already decided it’s not for them.
‘Our usual programme is planned two, even three years ahead, and artists approach us all the time with wacky ideas. We could never get our clocks in sync to exhibit them. That’s what our biennial commissioning festival Week53 is all about – stopping the clock and saying: ‘Our building is available’.”
‘IRIS’ is The Lowry’s Week53 commission for this intervening year. The Digital Programming Team were looking to work with artists who were at home with the challenge of working in the elliptic-shaped theatre; an empty space that isn’t truly empty. Previous collaborators – and internationally-renowned pioneers – Marshmallow Laser Feast were selected. Julia shares her delight at discovering one of the founders is from Salford, exclaiming: “They’re from around the world and around the corner!”
‘IRIS’ exists in two free formats: as a ‘Black Box’ experience you can enjoy as a piece of digital art, or as a surprise piece of pre-theatre before selected shows.
“It’s dynamic – a completely different experience that changes whether you are in the circle or the stalls,” says Julia, who challenged Marshmallow Laser Feast to create a digital art piece that would sit comfortably before every kind of show, from comedy to opera to drama.
“As it’s free, people can come back again and again. What happens isn’t like anything else that you usually experience when you sit in a theatre. You are a participant as much as an observer. You’re inside something – the void of the building – encapsulated by the sound and music-scape.”
With our appetites well and truly whetted, we head into the Lyric Theatre itself for a short introductory speech by Julia. It is only four days since a terrorist atrocity took 22 lives and caused injuries to 119 others at the Manchester Arena, so it is with loving respect that Julia pays tribute to all those affected. From the initial feeling of helplessness, she says, came a resolve to: “Do what we do: to carry on delivering the programme and great art.” It echoes Ersin’s earlier comments that the show will give us breathing space, and that “they [the terrorists] can’t win.”
After this moment of reflection, ‘IRIS’ begins… The bowels of the Lyric Theatre are plunged into darkness and is punctuated by mechanical, industrial noises, which are interspersed by strains of classical music. With my heart pounding, I feel for my husband’s hand – uncertain of what to expect next. Overhead, robotically-controlled lasers now pierce red beams of light through the darkness – stretching long, searching fingers down from the ceiling to slowly probe the audience below.
The movie reel of my mind digs out ‘Blade Runner’ as a cultural reference – it feels dystopian… a disembodied presence extending tendrils of light to prod and provoke.. yet as the light columns begin to encircle us – caging us in – I desperately want to be one of the ‘chosen ones’ who are ‘touched’ by the criss-crossing lights that stain faces and hands red for a fleeting second. When I finally ‘catch’ one, it ribbons through my fingers – leaving a smile of pleasure on my face.
Pulsating… growing and shrinking… ‘IRIS’ now changes – the soundtrack becoming ethereal and yearning. We have entered a time of enlightenment, similar to Aldous Huxley’s ‘doors of perception’; there is a feeling of a new dawn of knowledge and connectivity. The lasers are a friend and an educator – showing their intelligence with increasingly intricate patterns that suspend, swoop and play.
Then – after six all too short minutes – it ends abruptly; the hypnotic trance is broken. Julia Fawcett’s ardent wish that ‘IRIS’ will leave you curious – and with a burning resolve to return – is fulfilled.
Spilling back out into the still brilliant daylight, it’s now time to nurse a drink and muse over what we’ve experienced in ‘IRIS’, while the ‘Tim Peaks Diner’ experience takes residence at Pier Eight below us. Strains of overhead conversation echo Julia and Ersin’s promise that this ethereal being, ‘IRIS’, will be interpreted uniquely by all. No two opinions are the same, but there are surprised and curious grins of pleasure all around.
It’s the perfect precursor to The Charlatans’ Tim Burgess, who is joined by guests TEAR and a bevy of DJs for an uplifting mini-festival that feels communal and comforting after the week’s events.
Hi Resplendent in a gold glittery cardigan, which he later peels off to reveal a ‘A Different Day’ T-shirt, the indie legend serves up an acoustic set of the ‘songs we know, but done different’ – treating us to crowd-pleasers like ‘The Only One I Know’, ‘Just When You’re Thinkin’ Things Over’, ‘Tellin’ Stories’ and ‘North Country Boy’. It is hot on the heels of the launch of The Charlatans’ new album, ‘Different Days’. Touted as ‘the best Charlatans album in 20 years’, it features a plethora of special guests – including Smiths’ legend Johnny Marr, who plays on three tracks. After the ‘Tim Peaks Diner’ experience, Opening Night will be snapping it up!
Saturday, 27 May – Sunday, 28 May: 11am to 4pm
Saturday, 10, 17 and 24 June: 10.30am to 11.30am
Saturday, 8 July: 10.30am to 11.30am
The artwork will last for approximately seven minutes and will be shown every 15 minutes.
Reviewed by Michelle Ewen