In Performance

In Performance: Lea Moro, FUN! (Tanz im August)

FUN! Lea Moro Tanz im August, HAU2 August 11-13 The title of FUN!, its aggressive capitalization and that emphatic punctuation, reads both as encouraging exhortation (have fun!) and vaguely threatening guarantee (you WILL have fun). It’s an apt encapsulation of a performance that, in its commitment to the relentlessly cheerful aesthetic of the amusement park, takes the spectator on an alternately delightful and infuriating ride. The performance is exhausting, but then, so is having fun. Choreographer Lea Moro (who also performs in the piece) is interested in entertainment as industry, in the codified structures within which we are encouraged and expected to consume the product that is “fun.” FUN! draws inspiration from, and re-performs for our benefit, a parade of familiar cultural diversi...

In Performance: Serge Aimé Coulibaly, Kalakuta Republik (Tanz im August)

Kalakuta Republik Serge Aimé Coulibaly Tanz im August, HAU 1 August 11-12 Kalakuta Republik, by the Burkinabé choreographer Serge Aimé Coulibaly, takes its name from the residence of the Nigerian musician and activist Fela Kuti, a commune which Kuti declared to be independent of the Nigerian state. The tension between artists and political systems, the contribution of art to popular revolt and perhaps revolution, drives this thrilling, energetic performance. Though the piece draws inspiration from Kuti’s life and work, Coulibaly is not concerned with biographical or historical recreation. Rather he is in choreographic dialogue with Kuti as countercultural leader, asking his own questions about the social responsibility of artists in Africa and around the globe today. At the beginning of th...

In Performance: Alexandra Bachzetsis, Private: Wear a mask when you talk to me (Tanz im August)

Private: Wear a mask when you talk to me Alexandra Bachzetsis Tanz im August, HAU 2 August 11-13 As the audience takes their seats, choreographer Alexandra Bachzetsis applies makeup at a small mirror; an unsurprising image, but this mirror is affixed to a camera tripod, occupying the place where a lens would normally be. This detail suggests that it is difficult, perhaps impossible, to craft your self-image without being influenced by what you yourself have seen. Bachzetsis’s solo performance is very much concerned with images of gender and sexual identity, and particularly how the media that we consume and the activities that we engage in every day train us to perform—and read the performance of—these identities. She moves through sequences of movements and poses that refer to athletics, ...

In Performance: Ivy Baldwin Dance, Keen [No. 2]

Keen [No. 2] Ivy Baldwin Dance Abrons Arts Center 466 Grand St June 1-11 A massive installation constructed out of white paper (by the artists Wade Kavanaugh and Stephen B. Nguyen) fills the back wall of the Abrons Playhouse. Its elaborate, vaguely ominous assemblage of coils, tendrils, and vortexes loom over a single dancer alone in the space, but her bright orange leotard and grounded, deliberate movements hold their own, commanding our attention. Later, the stage is overtaken by a group of similarly attired women: trilling with increasing aggression, they gradually assemble into a pack, crawling in circles in a feral display until they exhaust themselves and lay quiet. Ivy Baldwin arises for a quiet solo, holding her leg suspended in air for so long it begins to seem like something sepa...

In Performance: Jeanine Durning’s inging at Los Angeles Performance Practice May 12–13, 2017 (Los Angeles)

 Los Angeles Performance Practice Jeanine Durning’s inging May 12–13, 2017 Los Angeles Performance Practice (LAPP) presents inging, created and performed by celebrated choreographer Jeanine Durning, an Alpert-Award winning artist and influential dance maker. For the first Los Angeles presentation of her choreographic work, Durning performs this intimate exploration of rarely charted territory at the intersection of thought, language and action. inging is presented May 12 and 13, 2017 at 8pm at Automata in Los Angeles’ Chinatown. Full event details below. The performance’s title refers to the suffix “ing” in the English language, used to express actions that are still in progress, that haven’t yet ended. Part spoken word performance, part reverie, part dance, part oral bio...

In Performance: FCCC #1 Future Clinic for Critical Care – May 6, 2017 Berlin

FCCC #1 Future Clinic for Critical Care   Saturday May 6, 2017 from 14:00 – 18:00 Location: The Aquarium, Berlin Skalitzer Str. 6 Organized and curated by Jeremy Wade Featuring: Locomotive Labels – Solo Dance by Justin Kennedy Totemic Identity Healing – with Katerina Kokkinos Kennedy NAGELNEU: Death-Nails-Special by Quast & Knoblich The Battlefield Nurse – Jeremy Wade DJ Zhao – Ambient Futures AND… part of our practice is that we serve you Coffee + Cake!!  FCCC The Future Clinic for Critical Care (German Version Below) What happened to care? Who cares!?! “The Future Clinic for Critical Care” aka FCCC is a fictional DIY world making forum to explore the subject matter of care. FCCC will evolve as a series over the next year at “the Aquarium,” Ko...

In Performance: Jen Rosenblit & Geo Wyeth – Swivel Spot (The Kitchen)

A companion piece to Rosenblit’s Clap Hands, which ran most recently at the 2017 American Realness festival, Swivel Spot continues Rosenblit’s line of performative inquiry into pairing and relationships, and marks a new collaboration between Rosenblit and music/performance/installation artist Geo Wyeth. Comprised of gently accumulating scored movement punctuated by surprising turns of music and interaction, Swivel Spot watches Rosenblit and Wyeth fumble blindfolded through a motley landscape of objects and sound, groping for grounding, and for one another. Alexia Welch, the “supportive performer” who also provided her gentle care for Clap Hands, trails Rosenblit and Wyeth with plastic wrap, methodically pinning a city of objects to the gallery floor at The Kitchen. Welch’s methodical atten...

In Performance: Philippe Quesne/Vivarium Studio – La Melancolie des Dragons (Out There Festival)

La Melancolie des Dragons Philippe Quesne/Vivarium Studio Walker Art Center A group of long-haired metalheads sits in a stalled vintage Citroën in a wintery forest. They fiddle with the car radio, share snacks, and chat under cover of blasting music. Then arrives their friend Isabelle, a wise Snow White figure to the metalheads’ seven dwarves. After determining (through inspection and tinkering) that their Citroën won’t be going anywhere tonight, she asks the stranded metalheads to pass the time by demonstrating the attractions of the amusement park they are developing. Here, Philippe Quesne’s penchant for using simple tools to create surreal images shines. The would-be amusement park creators display each attraction for Isabelle, often calling her away from the previous one like a child e...

In Performance: Okwui Okpokwasili – Poor People’s TV Room (Out There Festival)

Poor People’s TV Room Okwui Okpokwasili Walker Art Center (Out There Festival) As in 2014’s Bronx Gothic, Okwui Okpokwasili is in motion before the audience enters the space. In fact, all four performers (Okpokwasili, Thuli Dumakude, Katrina Reid, and Nehemoyia Young) are already present and in motion. A large sheet of plastic stretches across the stage, separating Okpokwasili from the rest of the group, and blurring her image, as if she is a ghost or a spirit. Unseen forces are a recurring theme in this work. Though Okpokwasili names two events from Nigeria’s history as influences (The Women’s War of 1929, and the Bring Back Our Girls movement sparked in response to mass kidnappings), this source material is not addressed directly or literally. The four women seem to spin through ti...

In Performance: Faye Driscoll – Thank You For Coming: Play (Out There Festival)

Thank You For Coming: Play Faye Driscoll Walker Art Center (Out There Festival) “The book of the show is not yet written,” Faye Driscoll intones as she welcomes a small group of audience members onto the stage. The show’s interactive opening sequence has the feel of a ritual: the performers sit chanting in a clean, gallery-esque space, surrounded by neatly-arrayed props and costumes. Audience members are invited to stand around an altar-like table and to contribute a word or two to be used later in the performance. Since this operation, completed in small groups, takes a not insignificant amount of time, spectators can relax into the cycle of chanting and watch the precise, repetitive tableaux created by performers as they move from their separate squares to pose at the front of the stage....

In Performance: Catch Coil III (COIL)

Co-presented with The Invisible Dog Art Center Jan 15 – 7pm at The Invisible Dog Art Center 51 Bergen Street, Brooklyn Eleven acts participated in a special COIL edition of the CATCH series at The Invisible Dog. The series – as described by curators Andrew Dinwiddie, Jeff Larson & Caleb Hammons – is an “Obie award-winning, itinerant, rough and ready series of performance events that whirls through Brooklyn every month or two”. Performances came from groups like Aorta Films who make “lusty opulent ethical fuckery.” Aorta Films’ “Porn Theory 3 (manifesto in 10 parts)” is a thoughtful meditation on sex and queerness. Images of naked bodies of all shapes, sizes, color, and gender copulating played while the group read it’s inspira...

In Performance: M.Lamar – Funeral Doom Spiritual (Prototype Festival)

M.LAMAR – FUNERAL DOOM SPIRITUAL Friday January 13, 7pm Saturday January 14, 7pm + 10pm National Sawdust 80 North 6th Street Brooklyn, NY 11249 Funeral Doom Spiritual starts in discord. Strings play wildly and we hear the drone of endless bombs. Time slows as M.Lamar glides to his place at the keys. You crave for the strings and bombs to stop. Duration and intensity are powerful tools in M. Lamar, Hunter Hunt-Hendrix, and Tucker Culbertson’s exploration of a past future. Set in 2117, M.Lamar explores centuries of black death via music inspired by the negro spirituals. The restlessness of the music exposes a bleak future that looks so much like our past that you think you’re in a fever dream. Death is rest in this future. I suspect that this sentiment would also hold true ...