On stage and in the studio, Kwak (aka Xina Xurner) summons bodies, objects, and energies that flourish at the “seams of the illusions of fixed identity.”
The poet and artist invokes ancient matriarchal cultures, Indigenous folkways, and the speculative capacities of language so that we might rediscover our kinship with nature.
The final part of a performance trilogy on climate change, Falling Out fuses puppetry, Butoh, and Flex, to reflect on the Fukushima Daiichi nuclear disaster.
The paintings in HumidGray and ShadowLake evoke synesthetic colors, remembered landscapes, and the physical performance inherent in marking a canvas.
Intimate portraits of performers.
The three-part epic brings to life an adolescence informed by music as a gateway into a powerful, assertive selfhood.
It’s rare that as a writer I am left speechless by a performance. Writing becomes like swimming for the first time: relearning how to breathe. What can abandonment by words afford a writer besides drowning? Perhaps a lesson in listening.
Performance and community.
On writing about performance and relationship paradigms.
An artist’s collaboration with musicians.
An artist and a choreographer challenge the term collaboration, which they see as an approach rather than an outcome or frame of interpretation.
Blending objects with performance.
Editing a collection of artist Carolee Schneemann’s writings.
Reza Abdoh, the first large-scale retrospective of the late Iranian-American theater director’s work, is on view through September 3 at MoMA PS1. The comprehensive exhibition was co-organized by Bidoun’s Negar Azimi, Tiffany Malakooti, and Babak Radboy alongside MoMA PS1 director Klaus Biesenbach.
Performance as a poetry of long duration.
The gendered history of lobotomy.
A taste of what’s to come at Manhattan’s new space for multidisciplinary programming.
Citation, embodiment, movement, and holograms.
The collaborators on riots, punk, Richter, and the new book Now that the audience is assembled.