Choreographer Kim Brandt strips away excess in her search for a “body of bodies.”
A conditional archive or A score
for the past and future of
LIVING ROOM INDEX AND POOL
I remember Florentina Holzinger’s first costume. It was an oversize, orange-dyed dress, a muumuu really. She was sitting in a chair center stage. A minute or so earlier, a high fan kick had revealed her lack of underwear.
Choreographer Maria Hassabi and dramaturg Scott Lyall discuss the importance of space and boundaries in designing their newest dance work Premiere.
Jillian Peña on the fantasy of ballet, queer temporality, and doubling in her new performance Polly Pocket.
I’m sitting in the BAM Opera House among the rustling of bodies settling into their seats when the lights suddenly cut out.
Two recent interpretations of The Rite of Spring challenge the audience in new ways.
Kelly Copper and Pavol Liska of Nature Theater of Oklahoma on their series Life & Times, new episodes of which will be presented this September by FIAF as a part of its Crossing the Line festival.
Adrienne Truscott’s … Too Freedom …, performed at The Kitchen this last December, is a multilayered meditation on social (inter)action.
Stuart’s dance piece BLESSED offers a mediation on what happens when the world around us falls apart, and the state of falling apart is the only thing to rely on.
Take a road trip to Philly’s Bodega gallery with a podcast of a performative lecture by—and interview with—choreographer Jen Rosenblit.
Watch a BOMB Extra Video with artist Bjorn Copeland, whose band Black Dice has a new album, Mr. Impossible, out now.
Lauren Bakst visits Jen Rosenblit’s rehearsal to spend some time watching and discussing her latest project, In Mouth.
Martha Wilson’s solo exhibition, I have become my own worst fear, is up at P.P.O.W. gallery through October 8th. Lauren Bakst delves into the many faces of Martha Wilson, examining their relationships to the passing of time, the embodiment of aging, and the intertwining of the personal and political.
Lauren Bakst reviews performance artist Karen Finley’s Make Love, a post 9/11 cabaret show inspired by the iconic image of Liza Minnelli, but most of all, by New York.
“It feels to me like the difficulty of the conversation is actually the difficulty of the piece.” Lauren Bakst talks with choreographer John Jasperse about his forthcoming work Canyon.
Lauren Bakst talks with choreographer Beth Gill and the six women who perform in her latest work,Electric Midwife, about the perceptual possibilities of doubling and the depths of understanding sameness and difference.
What happens when choreographers and performers delve into the field of visual art? Lauren Bakst had a chance to find out at the Art (dance) Show, the opening event of Movement Research’s Spring FESTIVAL!.