Abrons Art Center
Feb 1, 6:30pm
Making chronic illness visible.
Two poets reflect on colonialism, iconoclastic writers, and the political dimensions of translating literature under authoritarianism.
Anointing her canvases with minerals, plants, smoke, and even animal urine, Dodd casts her installations as sites of ritual.
A painter talks about portraits as love letters, the poetry of country music, addiction and compulsion, drawing out painful archetypes, and finding both resentment and dignity in daily life.
The percussionist combines martial arts, herbalism, acupuncture, and technology to concoct a healing potion equal parts ancient tradition and pioneering experimentation.
Shifting between a Marie Antoinette wig, a fake mustache, and a bald cap, the sculptor and filmmaker plays all three corners of a love triangle in After the fire is gone.
Pathos, swallows, Hölderlin: a sense of the everyday and its interruptions guide the Austrian writer’s “tender prose.”
The writer of The Job of the Wasp on horror, human evil, and writing long sentences.
The playwright discusses his formative years, rejuvenation of historical material, and how race is coded into theatergoing itself.
The complexity of categories.
The two artists consider the roles that trust and doubt play in their expressions of the ineffable.
The Indiana-based producer composes intricate music from a blank slate, but her inspirations range from Nina Simone to discrete mathematics.
The poet on prison writing, collective art-making, Bay-area resistance, and being read in a thousand years.
The writer of Bunk on American hucksterism, racism, plagiarism, and why we believe what we want to believe.
The Infinite Ground novelist on detective fiction, Borges, end times, and the impermanence of bodies.
Dance as secular and sacred devotion.
Two current installations share their stories and vulnerability.
“The mill is a metaphor for all of us.”
The novelists on Vietnam, Norman Mailer, and the dragon’s perspective.
Confronting the legacy of J. Marion Sims.