Park Avenue Armory, Wade Thompson Drill Hall
643 Park Ave. at 67th St.
Through October 4, $60
212-933-5812
www.armoryonpark.org

For twenty-five years, Robert “3D” Del Naja has been half of the British trip-hop group Massive Attack, along with Grant “Daddy G” Marshall, releasing such seminal records as Blue Lines, Protection, Mezzanine, and 100th Window. For thirty years, BBC journalist and filmmaker Adam Curtis has been making such award-winning documentaries and nonfiction series as Pandora’s Box, Modern Times: The Way of All Flesh, The Century of the Self, and The Power of Nightmares. Del Naja and Curtis have now teamed up to create the immersive multimedia production Massive Attack v Adam Curtis, co-commissioned by the Manchester International Festival, the Ruhrtriennale International Festival of the Arts, and the Park Avenue Armory. Former graffiti artist Del Naja and Curtis are joined by United Visual Artists, which has been providing LED installations for Massive Attack’s live shows since 2003, set designer Es Devlin (Howie the Rookie, The Master and Margarita), and vocalists Liz Fraser and Horace Andy as they delve into what Del Naja calls “a collective hallucination” and Curtis refers to as “a musical entertainment about the power of illusion and the illusion of power.” In the general admission show, multiple screens project a dizzying array of images examining the global sociopolitical culture of the last fifty years, declaring that “you are the centre of everything” while also including stories of individuals trying to find some hope for a better future. Massive Attack v Adam Curtis runs through October 4 in the armory’s Wade Thompson Drill Hall; the October 3 performance will be preceded by the ticketed panel discussion “Viewing Media Through an Artistic Lens” with Simon Critchley, Joyce Barnathan, and Alexis Goldstein, moderated by Graham Sheffield.

Massive Attack and Adam Curtis fight the power in multimedia show (photo by James Medcraft)

Update: The title Massive Attack v Adam Curtis might suggest that the trip-hop band and the controversial experimental filmmaker are locked in some kind of competition, but instead Robert Del Naja and Curtis come together in exciting ways in their thrilling multimedia show. The ninety-minute production takes place in an elongated rectangular section of the Park Avenue Armory’s Wade Thompson Drill Hall, where fifteen hundred people squeeze in, with four large screens to the right and left and three more in the front, behind which Massive Attack plays a wide variety of cover songs (as well as a few snippets of their own tunes), joined by the Cocteau Twins’ Liz Fraser and Jamaican singer Horace Andy, both of whom have collaborated with the British band before. Curtis’s Everything Is Going According to Plan flashes across the eleven screens, as archival news footage, superimposed text, and narration by David Warner focus in on such figures as Donald Trump, Nicolae Ceaușescu, Ted Turner and Jane Fonda, economist Fischer Black, Jess “the Automat” Marcum, and others who Curtis believes have contributed to the economic and political downfall of the world. He also tells the powerful, tragic stories of British painter Pauline Boty and Russian postpunk musician Yegor Letov. Meanwhile, Massive Attack performs the Shirelles’ “Baby, It’s You,” the Archies’ “Sugar, Sugar,” Jesus and Mary Chain’s “Just Like Honey,” Dusty Springfield’s “The Look of Love,” This Mortal Coil’s “Dreams Are Like Water,” “Yanka’s Song,” “Safe from Harm,” and other songs, accompanying Curtis’s brutal, funny, cynical, and ironic images that portend the end of the world as we know it. The finale implores people to take action and save the planet from certain destruction, but you might be too dizzy and depressed by that point to care.