There’s no need to check into the Met after hours to see a classical statue come to life. In Renaissance gallery 504 on the main floor, a digital version of Tullio Lombardo’s 15th-century Adam is interacting with visitors and a knowledgeable Docent in Reid Farrington’s The Return performance through August 2.
The Return is quite a production and its illusions created in the Italian Renaissance gallery would make any animation fan jump for joy.
Classical Adam (the marble one) is installed prominently in the gallery where half the performance takes place. Its presence is a miracle, since the beautiful Renaissance sculpture totally shattered in a freak fall in 2002.
To repair it – a complex undertaking — Met team made a digital replica of all the pieces to decide how to fit everything back together again and spent years making it whole.
Now, it’s Digital Adam who’s the fascinating co-star of the show, brought back to life by performance artist Reid Farrington who envisioned a tribute to the virtuosity of the Met’s conservation team who so flawlessly reassembled Tullio’s Adam.
The other half of the performance involves an improv actor, a motion sensor suit, and a crew of digital engineers and prop masters, all camped out on the stage of the Met’s auditorium in the Egyptian wing. As the stage actor moves in the auditorium, Digital Adam moves, speaks, answers questions, and holds up a Warhol and a Van Gogh inside his lifesize digital frame in the Renaissance gallery to the delight of the audience and his sidekick, The Docent. See photos on our Flickr feed.
The audience decides what part of Classical Adam’s renovation will get discussed next, but the witty duo soon veer off into other fascinating topics:
What does it feel like to always look good and never age? Does Classical Adam remember back to the marble quarry? Does Biblical Adam remember what Garden of Eden was like before the Fall? Adam’s clever responses reveal that his Eden experience was a lot about infinity pools and the good life.
At one point, Digital Adam invites the Docent to portray Eve in his telling of what happened after the Serpent appeared with that apple. Then the attention turns back to Classical Adam, as the Docent shows Lombardo’s thinking about that particular moment portrayed in marble.
These two need their own ongoing talk show about history, time and space in some corner of the Met. Until August 2, ask the information desk for The Return’s program and go marvel at both the gallery and the behind-the-scenes performances. Or go to the live stream on the Met Museum’s website.
After meeting Digital Adam, you’ll never again wonder about what’s going on inside Classical Adam’s cool, calm, beautiful marble head.