On October 12th CREATIVE TIME celebrated artist Pedro Reyes and the new appointment of Justine Ludwig as New Executive Director with a gala and a Mexican-themed disco party. The co-chairs for this year’s event were Mary-Kate Olsen, Olivier Sarkozy, Jon Neidich (board chair), Alessandra Brawn, Alexandre De Betak, and Sofia Sanchez De Betak.
The non-profit arts organization started off its celebration with the Creative Time Gala at 99 Scott, and ended with the Creative Time Party, a Mexican fiesta-meets-discotheque at 53 Scott. The jam-packed Brooklyn warehouse had piñatas lining the ceiling. Guests enjoyed tacos from Enrique Olvera’s hot-spot Cosme, and danced to tropical disco beats by Tulum-based Gitano Sounds, with performances by JKriv and Moullinex.
At the Gala, Pedro Reyes presented eighteen of his large-scale works on paper, featuring portraits of artistic figures such as poet and philosopher Henry David Thoreau, Vietnamese filmmaker Trinh T. Minh-ha, conceptual artist Lee Lozano, and Italian-born Brazilian modernist architect Lina Bo Bardi. Proceeds from the sale of the first 5 works on paper, which sold out in minutes, directly benefited Creative Time. The artworks were generously handled and installed by Uovo. Guests sipped on custom cocktails by Maestro Dobel tequila and dined on Mexican-inspired fare like spotted prawn aguachile and wagyu short ribs with mole featuring a menu designed and executed by chef Yann Nury.
Creative Time, the New York-based public arts non-profit, is committed to working with artists on the dialogues, debates, and dreams of our time. Creative Time presents the most innovative art in the public realm, providing new platforms to amplify artists’ voices, including the Creative Time Summit, an international conference convening at the intersection of art and social justice.
Pedro Reyes (Mexico City, 1972) studied architecture but considers himself a sculptor, although his works integrate elements of theater, psychology and activism. His work takes on a great variety of forms, from penetrable sculptures (Capulas, 2002-08) to puppet productions (Baby Marx, 2008), (The Permanent Revolution, 2014).
