The Shed — one of the most significant additions to New York City’s cultural landscape in decades — finally has an opening date.
On that day, April 5, the Shed is set to join a rare lineage of new institutions that offer wide-ranging, interdisciplinary programming on a large scale, like Lincoln Center in the 1960s, or the Museum of Modern Art in the late ’20s.
And for its inaugural season, the Shed — a flashy, 200,000-square-foot modular building designed by the firms Diller Scofidio + Renfro and Rockwell Group, at the heart of the Hudson Yards development in Manhattan — has commissioned more than a dozen exhibitions, performances and lectures with an aim of presenting both well-established and emerging artists from the worlds of theater, dance, visual art, poetry, film, and classical and pop music.
“We wanted this to be a building that could bring parity across pretty much all art forms,” Alex Poots, the Shed’s artistic director and chief executive, said in an interview.
The programming aims not only to present disciplines comprehensively, but also to mix them up. This gives the season lineup the appearance of a grab bag with sometimes surprising pairings: a Björk concert directed by John Tiffany of “Harry Potter and the Cursed Child” for example, or a kung fu musical with remixed songs by Sia.
But Mr. Poots insisted that in playing matchmaker with artists, he only made introductions, and the rest happened organically, aided by the Shed’s resources and openness.
“People like opportunities, not instructions,” said Mr. Poots, who worked with some of the first season’s artists in his previous roles as the artistic director of the Park Avenue Armory, and the founding director of the Manchester International Festival. “Everything has come from the creators’ hearts.”
The actor Ben Whishaw, who won a Golden Globe on Sunday for “A Very English Scandal,” said he was “delighted” to take part in the Shed’s experimental approach to mixing disciplines. He is starring in a dramatic work by the poet Anne Carson, “Norma Jeane Baker of Troy,” which is to include musical interludes sung by Renée Fleming.
“It truly does feel like we’re moving into fascinating and uncharted territory,” Mr. Whishaw said.
Blending genres and disciplines also appealed to Latasha Alcindor, a young hip-hop and performance artist, who on May 18 and 19 is set to present “Powerplay” in collaboration with Dis Obey, the Shed’s program for New York City high school students.
“I don’t think there has been anything like this,” she said of the Shed’s approach. “It’s so freeing.”
For the Shed’s opening day, the filmmaker Steve McQueen is scheduled to present the first in a series of concerts called “Soundtrack of America,” an attempt at a family tree of this country’s musicians of color created with a team of academics and luminaries like Quincy Jones. The lineup of performers will be made up exclusively of emerging artists, Mr. Poots said.
Starting April 6, the center is preparing to open three high-profile commissioned works: “Reich Richter Pärt,” an installation with art by Gerhard Richter and music by Steve Reich and Arvo Pärt; “Norma Jeane Baker of Troy”; and an exhibition of extant and new work by the conceptual and performance artist Trisha Donnelly.
From there, new shows roll out quickly. Björk’s theatrical concert opens on May 6, and on May 10 the Shed is scheduled to host a one-night-only lecture with the polymathic Boots Riley (“Sorry to Bother You”) called “Art and Civil Disobedience,” also part of the Dis Obey program. “Open Call,” a project to present the works of 52 New York City-based emerging artists — it recalls MoMA PS1’s quinquennial exhibition “Greater New York” — is set to run from May 30 through Aug. 25.
On June 19, the film “Cinta Amarilla” — a documentary about the artist Beatriz González’s “Auras Anónimas,” an installation of 8,957 tombstones in the central cemetery of Bogotá, Colombia — is to begin screening in one of the Shed’s gallery spaces. That same day, an exhibition of art by Tony Cokes and Oscar Murillo is set to open, including a new work by Mr. Murillo based on Diego Rivera’s destroyed murals at Rockefeller Center.
The kung fu musical, “Dragon Spring Phoenix Rise,” a show conceived by Chen Shi-Zheng and the “Kung Fu Panda” screenwriters Jonathan Aibel and Glenn Berger, with choreography by Akram Khan, is to begin performances on June 22. A month later, the schedule features the street dancer Reggie Gray, known as Regg Roc, with a new show, “Maze.” The next commissioned project, an exhibition of new work by the conceptual artist Agnes Denes, is set to open on Oct. 2.
Mr. Poots said that construction is on a tight schedule, but on track, to be finished by April 5. When it is completed, the building will contain two column-free galleries, a 500-seat theater able to be subdivided into a variety of spaces, rooms for rehearsals and events and the vast McCourt space — a dynamic area that can be covered with a movable shell.
The Shed’s aggressive fund-raising and hefty gifts have covered the projected $475 million cost of the building, which has crept up because of soundproof shades being added to the McCourt. (Michael Bloomberg alone gave $75 million, earning him the building’s naming rights, and a $27.5 million gift from Jonathan and Lizzie Tisch has led to their names’ adorning rehearsal spaces.) Mr. Poots said the Shed so far had raised about $488 million of its $550 million target, a portion of which is intended for programming and start-up costs.