Performance

Performance Cabaret: In Conversation with Erin Markey

Erin Markey makes music, shows and videos. She has shown work at Under the Radar Festival, A.R.T., New Museum, PS 122, New York City Comedy Festival, Ars Nova, Lincoln Center Director's Lab, UCBeast, Bard Spiegeltent, Tasmania's Festival of Voices, San Francisco Film Society and frequently at Joe's Pub at the Public Theater.  She is the recipient of a Franklin Furnace Grant, a NYFA Cutting Edge Artist Award, an Eliot Norton Award for Outstanding Performance and is frequently recognized by Time Out New York as a Top Ten Cabaret Artist. She was listed in Artforum's Top Ten Best Music of 2016.  Her musical, A Ride On The Irish Cream, co-composed with Emily Bate and Kenny Mellman, premiered at Abrons Arts Center in January 2016 and was co-presented by Abrons and American Realness Festival. Iri...

Interview with Jen Rosenblit: Performing Process and Problematics

Jen Rosenblit has been making performance in New York City since 2005. Her Bessie Award-winning work questions intimacy inside of problematic spaces, uniting choreographies, text, and design towards philosophical quandaries. Her work has been commissioned by The Kitchen, New York Live Arts, Danspace, and others, and she has been a resident artist with Movement Research, LMCC, and others. Clap Hands was recently presented at the 2017 American Realness Festival at Abrons Arts Center, and Jen and I sat down after the closing performance to discuss the piece. The following is an excerpt of our conversation. — Sara Lyons: Tell me about the development of Clap Hands. What were your initial questions? Jen Rosenblit: Early on I was reading a lot of [Lauren] Berlant, and she said: “The reorga...

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: Nicola Gunn, Piece for Person and Ghetto Blaster (COIL 2017)

  Piece for Person and Ghetto Blaster (COIL 2017) Nicola Gunn Jan 11 – 8:30pm Jan 12 – 8:30pm Jan 13 – 7:30pm Jan 14 – 5pm The Ellen Stewart Theatre @ LaMaMa – 66 East 4th Street, NY NY Piece for Person and Ghetto Blaster is Australian performer Nicola Gunn’s subversively funny moral quandry-turned-solo show. At the outset, Gunn recounts directly to us a true story: once in the not-too-distant past, while running alongside a canal in Belgium, she came upon a man throwing rocks at a sitting duck. Paralyzed by the scene, she asked herself, what should a good person do? Like any question of right and wrong, Gunn’s work is deceptively simple. Bit by bit, she carefully asks us to consider each aspect of this situation: she’s a woman, he’s a man; she’s in a foreign country, he may be ...

In Performance – Kate McIntosh, Worktable (COIL 2017)

  Kate McIntosh Worktable January 5-7, 12-8pm January 8, 11-7pm January 9, 12-8pm COIL 2017 The Invisible Dog Art Center 51 Bergen Street, Brooklyn Destruction and renewal are the central themes of Kate MctIntosh’s remarkable installation, Worktable, however the piece also inspires thoughts on legacy, process, and power within artistic expression. Simple in conception but exceptional in its execution, the experience consists of a series of rooms through which participants are led one at a time. Participants choose an object from a well-curated selection of domestic pieces (porcelain figures, globes, cut flowers, etc) and are led to a private room where they are instructed to destroy it as thoroughly as they wish (hammers, saws, scissors and more provided.) When satisfied, partic...

Almanac 2016: Brian O’Mahoney (Newark, United States)

Brian O’Mahoney, an artist working in performance and digital media, presents his new work: TALK TO ME. Growing up with a speech impediment, he has always been sensitive about the use of his voice, and by extension words, as a primary method of communication; as such, the work explores the creation of new languages, both physical and digital, by recycling historical methods of communication. The work seeks to re-examine and re-contextualize past forms of communication under this new visual language in an attempt to redefine their significance. Part archaeological dig, part collage, TALK TO ME stumbles randomly through humanity’s past, with O’Mahoney sampling various ways humans communicated in an effort to investigate non-verbal, non-narrative communication by using a new vocabulary based ...

Almanac 2016: Matto Lucas (Melbourne, Australia)

“Kill Me, Charlie” was the beginning; the start of the voyage of the body as a canvas, as weapon, as point of analysis. What value is held on male, queer bodies? The pursuit of male beauty within the queer community leads to body dysmorphia, the Adonis syndrome and a constant sense of un-worth. The audience watched as Lucas' body was donned in a transparent bourqua, black boots and block jocks, while he continuously ran on a treadmill, lifted a barbell and exercised to the point of collapse. An affective piece that forced the audience to psychically experience the physical extreme of pain and self-harm inflicted on one's body in pursuit for 'perfection.'

Almanac 2016: anna.laclaque (D-38106 Braunschweig, Germany)

strapped voice Performance for voice, video and live-electronics In this multimedia-based performance an opera singer (anna.laclaque) combines her voice with live-electronics (Michel Lavignon) and sets the merged acoustic oeuvre into the context of a movie. Voice and electronics enter a dynamic interaction disturbing each other. It is essential for the authenticity of the performance that everything is generated on stage without any addition of pre-recorded samples. A multiplicity of acoustic images is generated, interrupted by highly dynamic runs through a tunnel as a symbol of a transition into a new state of mind. Ultimately, the voice is decomposed, overlaid and gets unrecognisable, and emerges as a new voice after each tunnel. The performance evokes different emotional states which in...

Almanac 2016: HannahMary (brierley hill, United Kingdom)

Provocative ideas and concepts that emerge for me personally as an artist from the pomegranate are in connection with my blood condition and fertility as a woman, as well as being a young person suffering a long term disabling illness that interlinks and progressively exaggerates these concepts for me. The symbolism of the pomegranate in Greek Mythology: Persephone – Persephone does not have any known offspring even though Her myth is directly associated with Fertility and the seasonal cycle. After Hades the God of the underworld wanting her to be his bride tricked her into eating a pomegranate, she was cursed to have to return for so many months a year to the underworld. The Goddess of fertility and ripe seasons having to spend half her existence within the shadows of death, returning to ...

Almanac 2016: Gustavo Monteiro (Porto, Portugal)

“Looking for the face I had before the world was made” it’s a journey through the labyrinth of the mind. Who am I? This is a question that it’s common to all and that it’s part of our instinct, but for which society has created rules to suppress in order to go against chaos in our heads. Francesca Perrucci, a born performer, will in a kind of sacrifice or a kind of self-imposed life sentence (as if Zen-like passivity meets a hollowed-out capitalist madness), challenge her limitations in order to discover new answers about herself and the world around her. “Looking for the face I had before the world was made” is an emotional and touching performance. CREDITS: Created: 2015 Choreography & Direction by: Gustavo Monteiro Created with & Performed by: Francesca Perrucci Music: Godspeed You...

Almanac 2016: Igor Almeida (Rio de Janeiro, Brazil)

The performance “De onde vem essa vontade de ser alguém?” emerged from the author’s need of self-knowledge. The concept of the work was developed through a collage of texts that the artist wrote or read at different times of his life. In this way, those texts created very strong and similar images, all within the same subject, about the need of being somebody. From the formulation of the texts, it developed the body’s need: what this body feels when getting in touch with this text and how it wanted to express itself in agreement or disagreement to the text. The desire to be someone that beats inside a body makes the head to throb, and the body stops. It stops in the middle of a pathway. He wants to ask passers-by who they are, so he can understand them, and then understand himself. In prac...

Almanac 2016: RAZOR Inc (Toronto, Canada)

Memory being the main motivation behind this work. I had been working on shows that travelled to Nursing Homes and hospitals and was overwhelmed by the memories people wanted to share and how they surrounded themselves with objects that instigated memory, how we have no history without memory and when we loose our memory we also loose ourselves. How we create them and store them in our own unique way. One persons memory of an event will be completely different than the next person. A single object will ignite many different memories, as with smell, taste, touch etc. When memory fades it changes. Sometimes we fabricate memories we would like to have. Using a sculptural wall of objects crocheted together and projected into the space, the performer interacts with this memory quilt and goes ...

  • 1
  • 2
  • 9