Last week at Milk Studios in Los Angeles, we attended a private “reveal” of David Lynch‘s artistic reinterpretation of Dom Perignon, the holy grail of champagne. Everyone was getting properly bent on an endless supply of limited edition Dom Perignon Vintage and Dom Perignon Rose, so the Lynch mob was in full effect once the bottles started rolling in. Aside from showcasing two new Lynch-designed Perignon’s, the hyper-surreal expo flaunted pretty much everything you’d expect from an event curated by the man himself: giant floating shield emblems surveying each room; pale butlers guard a black “wall of celebrity”; half the food is frozen from liquid nitrogen; neon piping tour guides; impractically dark hallways; fragmented projections; silver lines; black glass; and lots and lots of fog.
Like the Silencio, Lynch’s club in Paris, there’s absolutely nothing sobering about any of these aesthetic formalities. But all that stark Illuminati decorating seemed like bells and whistles compared to the center-piece of it all, a series of new ad-art installations by Lynch, all hybrids of blatant advertising and dream-like industrial sculpture. Normally, we can’t stand that type of parasitic marriage between art and product, but Lynch’s work seems to breathe a lot more than it absorbs. A silver platter of jewelery rotates amidst a round table of industrial lasers and beams of light and fog-cast shadow puppets inside a huge glass tank. Most of it felt more like window shopping than it did an art installation, but hats off to anyone who can make a glass bottle look like a dream.
The night was topped off with a solid–and naturally, sexy–performance by The Kills and a late-night heartbeat by Diplo, but by then the bubbles had taken over our ears and we decided to walk back up that long neon hallway and dream about blue-velvet beer mugs.