Edge Fest moves indoors this April, piloting program with crowd favorite Raffoul brothers
'As it grew, the burden got larger, and that's why we sunsetted it,' Teubner told the Wyoming Tribune Eagle.
Warehouse 21 would raise more than $150,000 in cash for staging, lighting, sound and paying the artists. This amount doesn't include the money they needed for the food and drink carts at the event as well as paying for the Warehouse's labor.
On Tuesday, Edge Fest announced that they're going back to their roots from before they moved the festival outdoors, and piloting a ticketed event called Edge Fest Indoors, starting with 'A Night with the Raffouls' on April 10 at The Lincoln. The Raffoul brothers, Billy and Peter, have played at Edge Fest in 2019 and 2024, respectively. Both of them will perform 45-minute sets and then an encore with five songs together.
Teubner told the Wyoming Tribune Eagle how he and the team at Warehouse 21 have been exploring the idea of moving Edge Fest indoors for over a year and 'kind of crashed into' the event coming in April. He saw that the Raffoul brothers were playing together, knew they were crowd favorites in the capital city, and reached out to them to see if they would play in Cheyenne.
Once they secured the Raffouls, Teubner reached out to The Lincoln, and Edge Fest Indoors was underway.
'We knew we wanted to continue exploring and finding ways to contribute to the arts and music scene, so our thought was to try and partner with The Lincoln and do a test-run to see if we can cover our expenses from a ticketed show and see if it's feasible,' said Teubner. 'Part of the experience for us wasn't just the music, but a digital art form (with) the lights and the digital experience, so we're passionate about that.'
If the pilot with the Raffoul Brothers is well received, Teubner said that they may make Edge Fest Indoors a once or twice a year event, whether they bring back more Edge Fest crowd favorites or new artists.
Teubner also told the WTE that Edge Fest Indoors will likely follow suit with how their brand was 'set' when it comes to the different vibe, bands and types of music they were chasing when thinking of acts to bring to the outdoor event. He explained that they were always trying to fit a niche that Cheyenne didn't have before, and will continue to do so if the event continues.
A post on the Edge Fest Instagram account said that whatever money they have left after expenses for Edge Fest Indoors will go to supporting local artists and the arts scene through the Big 8 Foundation, the nonprofit organization that started Edge Fest in 2014. Some things that Warehouse 21 and the Edge Fest team will be exploring are music scholarships for the youth, studio time for artists, future shows to feed the fund, photography projects, donations back to music and arts organizations and infrastructure projects that support downtown. They're calling it 'concerts with a purpose.'
'Giving money versus asking for money is of interest to us,' said Teubner. 'I think our fans are so great, we're just really grateful for the people that have donated, volunteered and showed up for Edge Fest. … It's a ticketed show, but it goes back to other good things and we're grateful for the support.'
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New York Times
05-04-2025
- New York Times
Lounging and Reflecting at Milan Design Week
Chairs are to design fairs what apple pies are to state fairs: comfortable fixtures with (at least) 10,000 variations. At Milan Design Week, the new introductions include some popular repeats, like Patricia Urquiola's Tufty-Time sofa for B&B Italia, now in its fourth version in two generations. Facing the future is the Psukhe armchair, an aerodynamic-looking stasis demon by Felix Godard, who is better known for designing the interiors of electric cars. A Reimagined Rocking Chair David Raffoul and Nicolas Moussallem's Loulou rocking chair was originally presented in 2014 as part of 'Loulou/Hoda,' an exhibition in the designers' native Beirut, Lebanon. The show was named after their respective grandmothers and featured pieces that, Mr. Raffoul noted, 'would be found in any Lebanese grandmother's home,' albeit reimagined for their generation. Meaning the rocking chair, Mr. Moussallem said, was 'lower and a bit more loungey than a traditional rocking chair.' 'It holds your back in a relaxed position,' he continued, 'you're not sitting straight up.' The founders of david/nicolas, who have a second studio in Milan, initially offered the upholstered rocker in an edition of 12. Two years ago, Mr. Raffoul posted a picture on Instagram of the chair in their Beirut office. The post caught the attention of Silvia Gallotti, the chief executive of the furniture company Gallotti & Radice, with whom they had previously collaborated. The rocker, she said, 'felt like more than just a piece of furniture — it had a strong personality and a unique presence that resonated with me instantly.' It is being introduced at Salone del Mobile under the assumption that it will resonate with others, too. 'Ten years ago our reach was very small,' Mr. Moussallem said. 'I'm very curious to see how the public will react to it now.' The Loulou rocking chair is on view Tuesday through Sunday at Salone del Mobile, Pavilion 9, stands E11/F10; — RIMA SUQI A Thing of Beauty and Harmony The octogenarian Swiss architect Mario Botta dug deeply into his own past and decades of furniture history for inspiration while designing fiberboard pieces for the Italian manufacturer Alias. Mr. Botta's line of Zeta stools, which have zigzagging profiles, perforated rims and palettes of yellow, black, brown and gray, riff off the sharply angular wooden armchairs in red and blue that the Dutch designer Gerrit Rietveld introduced in the 1910s. Mr. Botta said that he had long considered Rietveld 'my master of essentiality,' whose primary-colored armchair remained 'an archetype of beauty and harmony for a domestic object.' He added that in designing the stools, he also drew upon his memories of 'the poorer and cheaper seats' of rural buildings that surrounded him during his childhood in southern Switzerland. He was asked what reactions have been elicited by Zeta's shape so far. Do the toothy edges perhaps remind people of piano keys, hair combs or the punched cards used on early computers? Have the diagonal braces been likened to crisscrossing bridge railings or skyscraper reinforcements? He simply replied that he welcomed maximally diverse interpretation: 'The object of design cannot be univocal.' The new line is part of the Alias presentation on view Monday through Sunday at Fondazione Luciana Matalon, 67 Foro Buonaparte; — EVE M. KAHN New Directions in Woodwork 'Bentwood was a new direction for them and for me,' said Yves Béhar, the Swiss-born designer whose San Francisco firm, Fuseproject, is better known for technology-driven work. He was referring to a stool he recently designed for Zanat, a 105-year-old Bosnian woodworking company that has reinvented itself by collaborating with leading international designers. Orhan Niksic, Zanat's chief executive, had known and admired Mr. Béhar's work but only recently met him through the designer's wife, Sabrina Buell, an art consultant Mr. Niksic knew from their college days at Stanford University. 'It did not worry me that Yves has not designed much wooden furniture,' Mr. Niksic wrote in an email. 'What mattered was that we had a shared design vision and values.' The stool started as a bench, changing in scale and shape as Mr. Béhar's and Zanat's artisans worked together. Its round legs split and bend into arches supporting a solid wood seat. 'When you look at it from the top, it feels like a continuous pattern of curved, structural bentwood pieces like a cloverleaf,' Mr. Niksic said. Named Rye, the stool is available in both counter and bar heights in a variety of woods. It is on view at the Salone del Mobile, Hall 22, stand A11; — ARLENE HIRST An Evolution of Sitting in Comfort When B&B Italia introduced its Tufty-Time sofa in 2005, the Patricia Urquiola design was meant to court a younger audience with a modern silhouette. The piece was inspired by Mario Bellini's Camaleonda sofa, which had been out of production for more than 25 years, and featured similar, albeit less voluptuous, square tufts. Tufty-Time has been a best seller ever since. This year, a fourth iteration, called Tufty-Time 20, will be introduced in honor of the sofa's 20th anniversary. Previous versions, which appeared in 2011 and 2015, are still in production. Demetrio Apolloni, B&B Italia Group's chief executive, was with the company when Tufty-Time made its original entrance. Last year, after stints at Vitra, Cassina and Knoll, he returned. It was his idea to approach Ms. Urquiola about an update. 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'In this world, I imagine a lot of things,' he said of the book, 'but furniture felt like the most natural thing to apply from my experience.' The armchairs, which will be presented in a deep gray-blue as well as a white with hints of lavender, evoke the sleek trains and cars Mr. Godard is known for. They also share elements of Scandinavian design, which he described as 'serene.' Clever engineering was used to balance the weight distribution, giving the seats the surreal effect that they're balancing on their armrests. 'When you see the chair,' Mr. Godard said, 'you feel like it's almost flying.' The exhibition is open Monday through Friday at 6 Via Biella; — LAUREN MESSMAN
Yahoo
09-03-2025
- Yahoo
Edge Fest moves indoors this April, piloting program with crowd favorite Raffoul brothers
CHEYENNE — After 10 years of free concerts, Dave Teubner, Edge Fest founder and owner of Warehouse 21, announced last March that the summer of 2024 would be the final year for the annual event in Civic Commons Park. This decision was made due to it being 'too expensive to maintain' and taking up 'too much time and too many resources' from the community and local businesses who were helping raise the money, he said. 'As it grew, the burden got larger, and that's why we sunsetted it,' Teubner told the Wyoming Tribune Eagle. Warehouse 21 would raise more than $150,000 in cash for staging, lighting, sound and paying the artists. This amount doesn't include the money they needed for the food and drink carts at the event as well as paying for the Warehouse's labor. On Tuesday, Edge Fest announced that they're going back to their roots from before they moved the festival outdoors, and piloting a ticketed event called Edge Fest Indoors, starting with 'A Night with the Raffouls' on April 10 at The Lincoln. The Raffoul brothers, Billy and Peter, have played at Edge Fest in 2019 and 2024, respectively. Both of them will perform 45-minute sets and then an encore with five songs together. Teubner told the Wyoming Tribune Eagle how he and the team at Warehouse 21 have been exploring the idea of moving Edge Fest indoors for over a year and 'kind of crashed into' the event coming in April. He saw that the Raffoul brothers were playing together, knew they were crowd favorites in the capital city, and reached out to them to see if they would play in Cheyenne. Once they secured the Raffouls, Teubner reached out to The Lincoln, and Edge Fest Indoors was underway. 'We knew we wanted to continue exploring and finding ways to contribute to the arts and music scene, so our thought was to try and partner with The Lincoln and do a test-run to see if we can cover our expenses from a ticketed show and see if it's feasible,' said Teubner. 'Part of the experience for us wasn't just the music, but a digital art form (with) the lights and the digital experience, so we're passionate about that.' If the pilot with the Raffoul Brothers is well received, Teubner said that they may make Edge Fest Indoors a once or twice a year event, whether they bring back more Edge Fest crowd favorites or new artists. Teubner also told the WTE that Edge Fest Indoors will likely follow suit with how their brand was 'set' when it comes to the different vibe, bands and types of music they were chasing when thinking of acts to bring to the outdoor event. He explained that they were always trying to fit a niche that Cheyenne didn't have before, and will continue to do so if the event continues. A post on the Edge Fest Instagram account said that whatever money they have left after expenses for Edge Fest Indoors will go to supporting local artists and the arts scene through the Big 8 Foundation, the nonprofit organization that started Edge Fest in 2014. Some things that Warehouse 21 and the Edge Fest team will be exploring are music scholarships for the youth, studio time for artists, future shows to feed the fund, photography projects, donations back to music and arts organizations and infrastructure projects that support downtown. They're calling it 'concerts with a purpose.' 'Giving money versus asking for money is of interest to us,' said Teubner. 'I think our fans are so great, we're just really grateful for the people that have donated, volunteered and showed up for Edge Fest. … It's a ticketed show, but it goes back to other good things and we're grateful for the support.'
Yahoo
12-10-2024
- Yahoo
Meow Wolf's Vince Kadlubek left the company to rediscover himself. Now he's back -- and better than ever.
Oct. 11—Vince Kadlubek remembers seeing the success of the company he helped found explode in 2016 with Meow Wolf's first permanent installation, House of Eternal Return, open to great fanfare. But it was also a time when he knew he was losing a piece of himself — "my core," he said — in the constant work it took to continue building out the Santa Fe-based immersive arts company into something bigger. "I had a short fuse. I had a hard time connecting with people, even people who were some of my closest friends," said Kadlubek, 42, a co-founder of Meow Wolf. "I was wrapped up in a lot of insecurity and I defended my insecurities with characteristics that I wasn't proud of." Those insecurities led Kadlubek to step down as Meow Wolf's first CEO in 2019, a surprise to the public as the company was on its way to building more installations in other parts of the U.S. Kadlubek knew he had to reconnect with and rediscover who he was and what got him here — those "northern New Mexican values," he said, "things that I grew up with, ... things that I had lost." Kadlubek will be the first to tell you that the journey is still ongoing. But he's doing better these days and is back with the company in the role of chief vision officer — a position he says is "core to the creative process" — as Meow Wolf grows into its fifth permanent exhibition in Houston this month and sixth in 2026 in Los Angeles. Tell me a bit about yourself. Where are you from? What was your first job? "Born and raised in Santa Fe. Santa Fe and New Mexico are deeply (embedded) in my DNA, and I absolutely love it here. I never want to leave. ... My first job was washing dishes at Pizza Hut in Santa Fe right on Cerrillos Road. It's since been turned into a Mexican restaurant called Los Potrillos. That was my first gig; I was 15 years old. I worked there for about a year, and then bounced around from thereon for the next 15 years. I basically was in and out of every restaurant and hotel you could imagine, waiting tables, bussing tables, working night audits — just trying to make ends meet here in Santa Fe." How did Meow Wolf get its start? "Our spirit was born out of a place called Warehouse 21, which was a teen arts center that we all grew up with. Undoubtedly, that's the source of our spirit. After Warehouse 21 went through its transition into a bigger building and into a bigger organization, ... we felt the need to continue to have a DIY space for art and music and social gatherings and entrepreneurial activity, all of which Warehouse 21 really cultivated. But we needed our own space. We also recognized that Santa Fe's identity had become fairly rigid in how it expressed itself through art and cultural events and through tourism representation and whatnot. We were young people born and raised in Santa Fe who felt like our interests, our energy and our subculture did not have representation. Meow Wolf was an effort by all of us to have a space and have an entity that could channel this DIY punk rock, millennial creative expression. And so that was it. We all committed to 100 bucks a month to pay on the lease and called ourselves Meow Wolf. We pulled the name out of two hats — 'meow' came out of one hat; 'wolf' came out of the other. We all voted on it and then we just started to hang out and express ourselves inside that space (a 1,000-square-foot location on the corner of Second Street and Cerrillos Road was the group's first meeting spot). ... We were there for about six months, and then we moved down the street into a little bit of a larger warehouse and grungier warehouse, where we could be messier and we could kind of do our own thing." What was your role in starting Meow Wolf? "So we operated as an informal entity for like six years. Scratch that — we operated as a truly informal entity for three years, and so not a business, not even a nonprofit; we were just a social group. I thought that I was going to be an artist; I thought that I was going to be creative, but I quickly ended up being the guy who helped to generate donations. I often say when we would invite the public into our space to see what we've created, I would be the one who would be running around with a cardboard box with a hole cut at the top, and the word 'donations' written on the side in Sharpie, asking people to please donate so we could help keep it sustained. That role ended up evolving into, I was the one who was writing grants for Meow Wolf to try to get some funding, or I was the one who was writing press releases to the Santa Fe Reporter and The New Mexican and the (Albuquerque) Journal to get some attention towards us. So it became a bit more of an administrative, business-oriented role, even before it became a business. In 2011 this reached an even greater point when we did a project called 'The Due Return,' which was a giant ship that we built that was housed at a place called the Center for Contemporary Arts. That project needed real funding and needed real donations and needed a nonprofit partner. It needed an agreement between Meow Wolf and the CCA. We needed a real marketing strategy, and so I ended up taking on all of that type of work, while the more brilliant artists actually created the brilliant work. And so that's where that relationship really started to define itself even more." Your team opened this first permanent installation in Santa Fe in 2016. How did that come together? "After we did 'The Due Return,' there was a time from 2011 to 2013 when it was really hard for us to find our way. We formed a business and I started to think about a business plan that could kind of change the way that Meow Wolf thought about the work that we did. I started to sketch out this business model, really based on (whether) we could do a permanent piece, a permanent exhibition, and we could charge a ticket price — could it work? And so I developed that business model, and then started looking for a space that we could maybe rent, or maybe somebody could buy. We ended up finding this bowling alley that we currently exist in (House of Eternal Return) and then, of course, the miraculous moment of the story, is that I took the business model and I took the property that we had found thanks to George R.R. Martin, the author of 'Game of Thrones,' and he became the most significant first domino to fall in this whole thing. His willingness to see the vision of what it was that we were developing and to believe in it was the sort of monumental step that then accelerated us into being an actual business." You guys open this permanent exhibition and you're the CEO of this company, but you leave the role a few years later in 2019. Why? "We saw tremendous success from 2016 onward, and I had to quickly make decisions as CEO around growing the company — employing a bunch of people, raising more money, signing leases in Las Vegas and Denver, and then ultimately raising a very large amount of money from a private equity firm in New York to support the ongoing development of (those) projects. All of that took a massive toll on my psyche. After closing the round of capital, I felt like a shell of myself. ... I recognized that I was not the right person to lead the company, and so I begged our board of directors to let me step down because I just knew that I was not in a healthy place for myself or for the company." Was there any soul-searching when you left that role? "After I stepped down, the next four years and ongoingly today, it's been a process of me understanding my insecurities and understanding how I respond to my insecurities, and building a better toolset that's based in recognition of humanity and recognition of other people's humanity and collaboration and cooperation with others. Very significantly in that period of time, a couple things I'll mention happened that were hugely helpful in my personal development. I started to seek out therapy. I participated in psychedelic therapies that were paired with talk therapy — traditional psychoanalysis talk therapy — and did a few different sessions over the course of a few years. That was wildly transformative to my being. And that was the first time that I really understood the therapeutic power of psychedelics. Simultaneously to this, I also started to hang out with a friend group (of) people who grew up (here) ... and carry northern New Mexican values, Hispanic values — like things that I grew up with, things that were really true to my core, things that I had lost while on this crazy business trajectory (of) sitting in boardrooms and talking to investors in L.A., New York and San Francisco. ... A huge part of my therapeutic process was reconnecting with the language and the perspective and the ethos of northern New Mexico, and I was lucky enough to have a social group that was people that I love who were able to kind of bring me back to my core." Why did you decide to rejoin the executive team at Meow Wolf? "In the time that I had stepped aside from my CEO position, I got a chance to see the Las Vegas project open; I got a chance to see the Denver project open, and they're both mind-blowing projects. The brilliance of Meow Wolf — the brilliance of the team at Meow Wolf — is undeniable. I say and I believe (that) Meow Wolf is the greatest creative company in the world. I put us right up there with any other creative company. I couldn't help but want to be involved in it, to be around that energy, to be part of the trajectory, to be a part of the team, to work alongside such brilliance — it's the best opportunity in my life for creative expression. And so I worked hard to try to become part of the team again. I was a consultant for the company for a couple years and I worked closely with our new CEO, Jose Tolosa, and I worked closely with some other executives, especially our chief creative strategist, Anne Mullen. Over those two years, I learned a lot about myself, and I learned a lot about those insecurities, and I got re-triggered, and I was self-aware again, of like, 'Oh my gosh, here I go again, like, going into that person that I don't want to be.' And I think I finally got to a place where I feel like I can be back at the company and contribute and be part of the team without those detrimental aspects coming to the surface." How do you see this role as chief vision officer? "Core to the creative process, whether it's an art project or the development of the company or making the world a better place, is having the courage to see where you want to go. And oftentimes where you want to go is unbelievable — it's who you're going to be in five years. Who you want to be in five years seems impossible compared to where you are today. And so it takes a process, and it takes a certain energy, and it takes a certain level of communication, to develop a future vision, and for everyone to be excited about it, and for everyone to believe in it. And so that's always been the thing that I am most excited about. And I think Meow Wolf is at a point now where we've developed these incredible exhibitions, but there's more we can do."
