
Dance

At some point in the late ’70s, when Douglas Crimp and I were art history doctoral students at the Graduate Center, CUNY, he invited me to the ballet.

The artist mines the visual languages of virtual reality, contemporary dance, music videos, ancient Roman architecture, and West African shrouding rituals to create a “weird, metastasized utopia” of digital social space.

The recent conclusion of the choreographer’s trilogy, Water Will (in Melody), employs mime, gothic imagery, and a Grimm tale, to consider entanglements of nature, the feminine, and blackness.

The choreographer on the site of the body, nonhuman temporalities, and translating research to the stage.

The Indiana-based producer composes intricate music from a blank slate, but her inspirations range from Nina Simone to discrete mathematics.

Featuring selections by Bethany Ides, Isaac Pool, Charles Bernstein, Matthew Weinstein, Ivan Talijancic, and more.
