![]() New works from NonoTek, LED Pulse, Axion and Hot Tea fill out the roster. More than 600 artists were engaged at various stages during Transfix’s curatorial process. Stinchfield adds, “When you give people the agency to push buttons, to climb things, to experience things, to touch things, it really requires the participant to complete the work.”ĭuane Flatmo’s El Pulpo Magnifico will be at Transfix for two weeks. We’re not only creating a new venue, but we’re creating a new opportunity for people to be able to connect as a creative person,” Young says. You are a more creative person who has different opportunities and different options. If you can participate in the art instead of just being a viewer of the object, you show up differently in the world. “One of the things that’s really important about participatory art is that it gives people an opportunity to engage with their own creativity in a new and different way. Other times, they require the active involvement of the audience to complete or co-create the artwork. Sometimes, they use technology such as virtual reality or projection mapping. Immersive and participatory artworks like those found at Transfix engage the viewer as part of the experience, transporting them into another world. “We hope this will be a new inclusive format where artists who don’t belong in other spaces feel welcome,” he says. Young says he hopes Transfix shifts the pervasive “gatekeeping culture in the art world where gallery owners and museum curators decide what gets seen and what is considered art.” In addition to Stinchfield and Blatter, the core team includes Thor Young, director of artist relations and community impact, and Meranda Carter, curator and experience designer. And we will bring this amazing work to the masses as it wouldn’t normally be seen unless you have the means to go to festivals.” The ultimate goal of Transfix is to put revenue back into the art. And we’re freeing up space in their warehouses. “By renting these works, we’re giving them predictable income from a regular paycheck, so they can create more. And then, end up having to put their artwork into storage, which costs money,” he says. ![]() There are a lot of artists we’ve made relationships with over the years, and in some cases, they’re having to go to GoFundMe or private investors. “We built this business model with artists in mind. After that, Stinchfield hopes it will tour to Los Angeles and Austin. Transfix’s residency in Las Vegas is scheduled until fall. ![]() This guaranteed source of income allows artists to create new pieces and gain exposure from a new audience through the traveling festival environment. Transfix rents monumentally large art pieces from their creators for a period of three years, paying for transportation, installation, maintenance and operation. ![]() Then, we talked to investors and raised the money,” he says. “We brought in some friends from the rock-and-roll touring industry, who helped us build an operational budget. (The duo also developed experiential marketing agency Mirrorball 10 years ago after meeting at Burning Man Mirrorball produces large live events and tours for brands such as Heineken, Jack Daniels, Pepsi and Coca-Cola). The goal was to promote art experiences that foster a global creative economy, build community and support innovative creators of all backgrounds. Highlights include Marco Cochrane’s giant metal sculpture, R-Evolution, of a woman aiming to challenge the audience’s perception of the female body Pablo González Vargas’s work Ilumina where visitors take part in an immersive three-minute meditation using biometric technology to activate the massive sculpture by achieving group harmony Christopher Bauder and KiNK’s Axion, a grid-like arrangement of light tubes and moving lights resembling a device for space exploration or particle detection and the world premiere of a new sensory reset tunnel designed by Playmodes to take guests on an intergalactic journey. “Burning Man is the easiest way to reference this style of art because it’s such a famous event that people see in the news.”Īt Transfix, attendees embark on their own 90-to-120-minute journey through a two-acre labyrinth with 10 artist-designed bars and speakeasies sprinkled throughout the installations. In most cases, they literally don’t fit,” says Stinchfield of the more than 41 artworks from 39 artists offering live experiences ranging from light and sound to video, which occupy a vacant lot in front of Resorts World until fall. It’s very difficult to sell these pieces or to get them into museums or galleries. Tom Stinchfield, Transfix’s co-founder and CRO, describes it as an exhibition space for artworks - interactive, kinetic, illuminated and fire-breathing - that don’t fit into the typical gallery, physically or psychologically. Tao Group's Cathédrale Restaurant in Las Vegas Set to Open May 1
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