A live “performance/construction site,” called TILT, at New York City's Abrons Arts Center’s Experimental Theater combines dance and architecture in the close of a trilogy from Racoco Productions. The performance’s action is triggered by the first of three balls rolling down a chute in a primitive Rube Goldberg–like pinball machine, hitting metal chimes then bouncing down a “staircase.” The set is filled with sticks and pieces of wood at first tumbling out of the second-floor door of a shed, which houses a tap dancer in a skirt. The inventive costumes are largely made of wood panel overlays and flexible triangles that are either puppets mimicking the dance or sheaths that articulate movement. Choreography by Rachel Cohen, who stars along with tap dancer Heather Cornell, with live music by Lynn Wright, shows “fantastic excavations of everyday things…quixotic choreography, absurdist visuals, and raw materials”—and even a windmill constructed by four Noh-like dancers in a nod to Don Quixote. In the lobby are elements from the production—a build your own “throne,” pinball machine, ropes, chairs, costumes, Jacob’s Ladders, building blocks—and from the first two parts of the show’s trilogy, I would and Construct, which used the same raw materials as well as dance movements. For TILT, the final chapter, designer-carpenter Bill Kennedy was brought in to re-envision and expand the set pieces. The staccato and swirling movements perfectly mesh with the construction-site aesthetic of TILT.
Posts tagged with "Performances and Performance Art":
Japanese artist Yayoi Kusama is known for making work filled with circular motifs, and her upcoming site-specific installation titled Narcissus Garden is no exception. The installation of silver spheres will be on view from July 1- September 3 at Fort Tilden, a former United States Army base on the coast in Queens. The exhibition is presented by MoMA PS1 as the third iteration of Rockaway!, an art festival that commemorates the Rockaway Peninsula’s ongoing recovery from Hurricane Sandy. First presented in 1966 at the 33rd Venice Biennale, Narcissus Garden is comprised of 1,500 spheres made of mirrored stainless steel. The artistic intervention will transform the interior of the former coastal artillery installation with mirrored surfaces. The region’s military past and the building’s post-Hurricane Sandy state will be highlighted in the reflections of the sculpture. During the first presentation of Narcissus Garden in 1966, Kusama, dressed in a gold kimono, threw the spheres around and attempted to sell them to passerby on the lawn outside the Italian Pavilion. The performance was interpreted as “self-promotion and a critique on the commercialization of contemporary art,” according to a statement from the MoMA PS1. The art piece played an important role in marking Kusama’s career as a performance artist in the sixties. Iterations of Narcissus Garden have since been presented in New York City parks and different venues worldwide. The first iteration of Rockaway! in 2014 featured Patti Smith, Adrián Villar Rojas and Janet Cardiff, while the second iteration in 2016 featured Katharina Grosse. The series is co-organized by Rockaway Artists Alliance, a local non-profit art organization, and National Park Service. For details please check out this link.
Performa, an organization dedicated to live performance across various disciplines, will be launching a new program centered around the relationship between architecture and performance in New York City for their seventh edition of the Performa Biennial. The program, titled Circulations, is comprised of site-specific live performances and architectural experimentations in iconic venues throughout the city. Through performance, Circulations aims to examine the movement of bodies in space while looking at how architecture exists in today’s built environment. “From our daily routines, to the spaces that Performa identifies as frame or backdrop for Performa Commissions, it is the built environment that shapes our behavior and impacts our understanding of space,” said RoseLee Goldberg, founding director and curator of Performa, in a press release. Projects by various architects will be brought to life. Montreal-based architect François Dallegret’s “The Environment-Bubble,” a blueprint envisioning a flexible dome capable of hosting multiple occupants, will become a (temporary) reality and roam the city as an inflatable structure, hosting dance workshops. Philip Johnson’s Glass House will be occupied by French artist Jimmy Robert, transforming the icon into a stage “that delves into the intersections of architecture, visibility, and black representation.” Other artists and architects will present installations and performances, including a collaboration between the Marching Cobras of New York, a Harlem-based after-school drum line and dance team, with Bryony Roberts and Mabel O. Wilson, architects and professors at Columbia University’s Graduate School of Architecture, Planning and Preservation (GSAPP). This performance, "Marching On," was commissioned by the Storefront for Art and Architecture. “New York, with its dense urban fabric and complex history—from its Downtown mystique to its real estate–driven present—is the ideal location for a program like this,” said Charles Aubin, principal curator of Circulations, in the press release. “The artists and architects treat the city as a platform for experimentation where human beings and their activities confront the built environment.” Performa will also be launching a publication focusing on historical and contemporary works by architects who have incorporated performance into their practice, as well as a symposium that further examines the historical relationship between buildings and cities. Circulations will take place from November 1 to 19, 2017.
In its upcoming event, Latin American Circle Presents: An Evening of Performance, the Guggenheim Museum in New York will host three Latin American performance artists whose work ranges from dancing architecture to musical kitchen tools. Guatemalan artist Naufus Ramírez-Figueroa’s piece, A Brief History of Architecture in Guatemala, “examine[s] the tendency of architecture to memorialize regimes of power and exploitation” through the art of dance. Each dancers’ costumes will represent some of the more iconic and historic building types of Mesoamerica, including a Mayan pyramid, colonial church, and modernist block. Rio de Janeiro–based collective OPAVIVARÁ! will turn kitchen tools into instruments to explore the parallels of celebration and protest, and Argentinian artist Amalia Pica will use two dozen participants to present some of the issues with democratic communication. The event is part of the Guggenheim’s recent initiatives to diversify its collection and programming and feature more contemporary Latin American art. The event will take place in the Guggenheim’s Frank Lloyd Wright rotunda on May 5 from 7 to 9 pm. For more information on the event or to purchase tickets, please visit the Guggenheim website here.
German artist Oskar Schlemmer may be popularly known for his paintings, but at the Bauhaus he was the Master of Forum at their theater program—and he produced some unforgettable costumes and performances. Look no further than this modern rendition of his Triadic Ballet (Triadisches Ballett). Now, a performance inspired by Schlemmer's Triadic Ballet is coming to the Mana Contemporary space in Jersey City, New Jersey nightly from November 19 to November 22. The performance—dubbed Virtually There—has been curated by Roya Sachs and Mafalda Millies, both Performa Visionaries (Performa is a non-profit arts organization and proceeds from the show will go toward its ongoing efforts to support live performances). The costumes of Virtually There were crafted by the Campana brothers, two Brazilian designers renowned for their ability to re-use and recycle materials in their works. Those interested can find tickets here; the website says shuttles are available to and from Mana Contemporary.
Performance has been the breakout surprise of the Chicago Architecture Biennial. While many of the works inside the Chicago Cultural Center grapple with issues of urbanism, politics, and the resonances of Modernism (especially Mies’ oversized presence in the city) in contemporary culture, the three performances included in the opening weekend program address and embody what is at stake. Views from Superpowers of Ten by Andrés Jaque and the Office for Political Innovation (@andres_jaque, Instagram) Superpowers of Ten by Madrid/New York-based architect Andrés Jaque and his Office for Political Innovation, developed for and first performed at the Lisbon Architecture Triennial 2013, uses pop, oversized props and black-clad performers to restage of the Eames’ icon Powers of Ten. The original film was filmed on the banks of Lake Michigan, not far from the Chicago Athletic Club where it was performed. Jaque’s reworking expands the Eames narrative to our contemporary condition. The exponential zooming out from Earth and then back into the heart of the atom now includes critical questions of space junk, nuclear fallout, immigration, race, queerness, and transgender identity. In a gallery the unorthodox mix of para-architectural issues might seem ponderous, but told through pantomime, they resonate visually and emotionally. We Know How to Order, conceived by Bryony Roberts, and choreographed by Asher Waldron of the South Shore Drill Team powerfully superimposes the movement of African American bodies in space on top of the charged site of Federal Center by Mies van der Rohe. The South Shore Drill Team, hailing from one of the poorest neighborhoods in Chicago, trains young people to master the precise choreography. On the plaza, while the performers mimicked the lines of Mies’ architecture, which underscoring the conditions of universal space into the public realm, they also brought joy and dynamism to the windswept public space. Even stalwarts of the architecture community were moved to tap their feet and wipe their eyes. https://vimeo.com/141231941 Performed in Mies' super spare Carr Chapel on the IIT campus, Theatre by Mexican artist Santiago Borja brought a different kind of otherness to the Miesian space of worship. The performance was set with two specially-designed petate rugs, woven in Mexico, that represent esoteric geometries developed in Europe at the start of the modern movement. Made out of palm leaves, one rug sits on the floor and the other hangs above, demarking what is not so much a stage as an abstract spiritual space for Ingrid Everwijn, the lead teacher of the Eurythmeum CH in Dornach Switzerland. Dressed in pink and yellow dress, Everwijn performed eurythmy movements—a kind of “spiritual gymnastics” developed by Rudolf Steiner and Marie Sivers in early 20th Century. The result was mystical, irrational, and energetic, as well as an immersive experience that undermined the rigors of Miesian abstraction.
Detroit's 90,000 vacant homes and residential lots have proven to be fertile ground for artistic exploration, giving rise to verdant floral installations and canvases for sought-after graffiti artists. Now architects and artists from The D and beyond hope to turn an abandoned property at 1620 Morrell Street into something truly surprising. Dubbed House Opera | Opera House, the project aims to turn a decrepit, 2,000-square-foot house into a public performance space “where Detroiters could tell stories through music,” according to a Mitch McEwen, the project's principal architect. She spoke to WDET for their story, “From Blight to Stage Right”:
It evolved from a small group of artists in New York to a large group of folks across the country … neighbors have started to talk about performances or people in their families who perform that might get involved. And so we've really expanded from an immediate, emergency kind of dialogue to one that's about culture and talent that's already in the neighborhood, and how it can have a stage there at the House Opera.McEwen bought the two-story home for just $1,200 in a public auction, paid off its delinquent property taxes, and got to work raising money for its second act. So far the project has received financial support from Graham Foundation, Knight Foundation, Taubman College – University of Michigan, and the Michigan Economic Development Corporation, as well as numerous individual benefactors including Mark Gardner, Theaster Gates and Dr. Larry Weiss.
Change is underway at Chicago's Museum of Contemporary Art. At a press conference Friday MCA officials revealed that the institution is working on a new image, new programming and even a new master plan for the museum's space led by Los Angeles–based design firm Johnston Marklee. The announcement was timed to coincide with the last push of a major fundraising campaign. The museum has quietly raised $60 million in recent years, nearing a “vision campaign” goal of $64 million. Today they revealed their latest donation: $10 million from Kenneth Griffin, an MCA trustee who is also the richest man in Illinois. MCA's fourth floor galleries will now bear his name. “We've been thinking about what a 21st Century museum looks like,” said Madeleine Grynsztejn, MCA's director. Citing figures from the National Endowment for the Arts, Grynsztejn said the museum needs to become more “responsive” to the community—“a civic institution of local necessity and international distinction.” Part of that mission includes converting the cafe space into an “engagement zone” for public events, performances and education. Museum goers looking for a snack will have to find it on the first floor, where a new restaurant will front onto Pearson Street. Those and other changes to the 1996, Josef Paul Kleihues–designed building's programming are part of a new masterplan currently in development at the offices of architects Sharon Johnston and Mark Lee. Dutch designers Armand Mevis and Linda Van Deursen of the firm Mevis & Van Deursen also designed a new logo for the museum—part of a larger campaign to rebrand the museum and reengage with a public tempted to seek out art online or otherwise outside the Streeterville museum's walls. MCA has had some success reinvigorating popular conversation about contemporary art with its David Bowie Is exhibition, which recently wrapped up its run at the museum after drawing nearly 200,000 visitors—an MCA record, according to Grynsztejn. “The Bowie show challenged the MCA to raise our game,” she said. That could include expanding hours or more drastically reconsidering the museum's model, Grynsztejn wondered aloud Friday. But it will definitely include more shows for young artists on the cusp of a breakout, said curator Michael Darling, as well as more interactive exhibitions. Darling pointed to an upcoming residency by the Grammy-winning chamber group Eighth Blackbird, which he said would include unannounced and improvised performances throughout the museum, with the intent to connect the public with contemporary music and the process of creating it.
Mayor Rahm Emanuel's announcement that Chicago would launch an international festival of art and architecture—its own take on the famous Venice biennale—drew jeers and cheers from the design community both near and far from The Second City. AN called for the show aspiring to be North America's largest architectural exhibition to go beyond tourism bromides. Now the upstart expo has a name, as well as its first show. The inaugural Chicago architecture biennial will begin in October 2015, and will be called “The State of the Art of Architecture,” in reference to the controversial conference organized in 1977 by architect Stanley Tigerman. Tigerman's show celebrated the postmodern rejection of Chicago's old masters like Mies van der Rohe, forging the position of architectural protest group The Chicago Seven. A press release from the organizing committee alludes to the upcoming exhibition's wide scope:
More than a profession or a repertoire of built artifacts, architecture is a dynamic cultural practice that manifests at different scales and through various media: buildings and cities, but also art, performance, film, landscape and new technologies. It permeates fundamental registers of everyday life—from housing to education, from environmental awareness to economic growth, from local communities to global networks.The biennial's first commission was announced Wednesday by co-directors Joseph Grima—a former curator of the Storefront for Art and Architecture, and director of the Ideas City platform of the New Museum—and Sarah Herda, director of the Graham Foundation and AN editorial advisor. Renowned photographer Iwan Baan will contribute an original photo essay about Chicago featuring aerial shots taken at sunrise. The work will “capture the city during a moment of its daily routine,” according to the press release. “Like the Biennial itself, Baan’s expansive photographs interpret Chicago as a realm of architectural possibility, past and future.” The free festival's home base will be the Chicago Cultural Center, but organizers say it won't be restricted to downtown. “Using the city as a canvas, installations will be created in Millennium Park and other Chicago neighborhoods, including new projects and public programs developed by renowned artist Theaster Gates on Chicago’s south side,” reads a press release. “The Biennial will also feature collateral exhibitions and events with partner institutions throughout the city, and will offer educational programming for local and international students.” Tigerman, whose 1977 exhibition is the inspiration for the 2015 show's title, sits on the biennial's International Advisory Committee, which also includes architects David Adjaye, Elizabeth Diller, Jeanne Gang, and Frank Gehry, along with critic Sylvia Lavin, Lord Peter Palumbo and Hans Ulrich Obrist. Ty Tabing, former executive director of the Chicago Loop Alliance and founder of Singapore River One, will serve as the biennial's executive director. Oil giant BP has agreed to donate $2.5 million for the show, but Mayor Emanuel is reportedly seeking $1.5 million more.
Studio Gang Architects are familiar with theatrical spaces, and with the rhythms of the natural world; their design for Writers Theatre in north suburban Chicago reaches out to nature with timber trusses and a raised promenade through the trees. But a new project may take those interests one step further. SGA announced Wednesday they will collaborate with Thodos Dance Chicago on a project "investigating the intersection of dance, architecture, and physics.” Working with University of Chicago physicist Sidney Nagel and his lab group, Gang’s interactive structure will draw inspiration from “jamming” — the research process of studying disordered materials. The world premiere dance performance will also explore the overlap of physics, dance, and architecture. As yet untitled, the work will debut as part of Thodos’ Winter Concert 2014 on Saturday Feb. 22, 2014 at 8 p.m. at the North Shore Center for the Performing Arts, 9501 Skokie Boulevard in Skokie, IL. Tickets are available at northshorecenter.org.
Marina Abramović owes 4,765 hugs to the supporters of her successfully funded $600,000 Kickstarter. Last month, the artist launched the online campaign to fund her own Marina Abramović Institute (MAI) in upstate New York, a performance center conceptualized as a laboratory that will be dedicated to the practice of long-durational performance art and the “Marina Abramović Method.” Project donations ranged from $1 to $10,000 and all donors are invited to receive a personal hug from the artist in a future performance event called “The Embrace.” With help from social media, celebrity interest, and a few encouragements from Abramović herself, the center surpassed its goal by more than $60,000 before the end of its month-long funding period this past Sunday. Designed by OMA’s Rem Koolhaas and Shohei Shigematsu, the center’s focus is the large hall where Abramović and other performance artists will show six-hour art pieces to an audience donning lab coats. Contracted to stay for the duration, visitors will be trained in the Marina Abramović Method, being led through a variety of sensory exercises in rooms surrounding the great theater space. A few weeks ago, a viral video of pop singer Lady Gaga practicing the Method in the nude raised interest in the MAI campaign. Last month, rapper Jay-Z’s recent six-hour performance of “Picasso Baby” at Pace Gallery in New York City paid homage to Abramović’s 2010 The Artist is Present performance at the Museum of Modern Art. Even the artist herself posted a playful clip, explaining how many long durational performance artists it takes to screw in a lightbulb. With celebrity support and interest generated through Abramović's #whyMAI blog and Reddit Q&A sessions, this unique vision is now on course to be realized. Overall, the Kickstarter campaign raised $661,452 and MAI became the largest cultural institution to be funded in this way. Soon, OMA will begin to transform a 29,000-square-foot former theater in Hudson, New York, into an institute devoted solely to long durational performance art, definitely the first of its kind.
The clock is currently ticking on fundraising for Marina Abramović’s proposed Marina Abramović Institute for the Preservation of Performance Art (MAI), a performance art center designed by Rem Koolhaas' OMA. The facility is planned to be set in a former theater in Hudson, New York. On July 26th, the artist launched a $600 thousand Kickstarter campaign to fund the institute she hopes will develop new forms of the long durational—six hours or more—performance art she is famous for. Abramović has teamed with OMA architects Shohei Shigematsu and Rem Koolhaas to gut the current building and design a multi-level, multi-room performance hall in which visitors will stay for a minimum of six hours (as signed by contract upon entrance). With the Kickstarter campaign fundraising goal, which must be fulfilled by August 25th, the team will transform the building's state of disrepair into a conceptualized laboratory: a performance and education space where visitors will wear white lab coats and participate in the Marina Abramović Method of durational performance art. The artist means for MAI to become a center of interaction across topics, “foster[ing] collaborations between art, science, technology, and spirituality, bringing those fields into conversation” and her designing architects have taken the mission to heart. For the New York Times Art Beat last year, Shigematsu said he and Koolhaas planned on “creating a one-of-a-kind typology” for MAI’s less than typical theater program. In the Abramović Method, participants become the art they simultaneously view. The current OMA architectural models their interpretation of Abramović's unique vision. OMA plans specifically-purposed rooms surrounding the central performance space, which will be visible throughout the facility. Abramović believes the institute fills a current void in the art world as a place for people to satisfy their “immense desire to slow down and connect to themselves and to one another in a live setting.” She hopes that MAI will show the work of several long durational performance artists across a variety of genres.