Interactive Art Installed at BCA Plaza

The two installations are part of Occupy 539, a BCA program exploring ways in which people “congregate and linger” in public spaces.

Two temporary art installations are now on display in the Boston Center for the Arts Plaza as part of Occupy 539, a program run by the BCA to explore ways in which people “congregate and linger” in public spaces.

Immediately noticeable from Tremont Street is an arched wooden structure covered with painted Plexiglas panels. Akin to a large-scale painting, visitors can walk through the tunnel-like structure and watch the artwork transform. The piece was created by architects Tim Severo and Andrew Adamopolous in collaboration with artist Matthew Cleary.

This year, two installations will occupy space on the Plaza from July through October. Artist Philippe Lejeune designed a sculpture to be used as a stage for public performance. The stage, composed of a wooden platform and frame, contains double-sided mirrors and safety glass panels in order to alter the viewer’s perception and blend reflections from both sides of the glass.

The stage’s illusion "provides a mesmerizing and contemplative effect for the general public,” according to a press release issued by the BCA. “Other artists, including dancers and street performers, can manipulate this public art in many ways.”

What sets the two exhibits apart from other artwork is their location in public spaces, said BCA Executive Director Veronique Le Melle. As with last year’s Green Wave Bench, the public is free to touch, and in this case enter, the work of professional artists.

“We continue to look beyond our studios and gallery walls as the only place for art to be shared,” said Le Melle. “The Green Wave Bench from last year’s temporary public art exhibition blurred the line between public space and art exhibit and really became its own destination in the South End.”

The temporary installations were unveiled Friday, July 29, during an opening reception. They will remain on display through October.


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