Performance Art
Before the premiere of their multimedia collaboration LIGATURE, visual artist Auerbach and saxophonist Hillmer talk about connectivity, geometry, and the nature of mind.
On storytelling, seriality, and a shared love of clichés.
A pioneer of feminist filmmaking considers how social engagement, literature, and a keen sense of the corporeal inform her vision.
Nineteenth-century female hysteria and contemporary digital culture on stage.
Future St. is set in an America in which homosexuality has triumphed over heterosexuality, cloning has replaced sexual reproduction, and California has seceded from the mainland United States to form the gay male state of “Clonifornia.”
“It’s about creating the conditions for a moment.”
A performance artist who grew up in the circus uses clowning, street dance, and butoh in playful and provocative combinations.
If the experimental French writing group Oulipo were to be reborn today, would they return as performance artists? Anne Garréta’s 2002 Prix Médicis–winning novel, Not One Day, marks her as a literary acrobat suspended between those who hold on to the group’s relevance and those who have let it go in favor of conceptual art practices.
“What’s the point of being queer, or an artist, or a radical, if you don’t veer?”
“We were relegated to Chick Lit, romance novels, our subjects were love and motherhood and other sexually-defined things. Modern Love mocks that, to some degree. It pushes back.”
Exploring Muslim femininity through the politics of love
From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.
Two interdisciplinary artists tackle the analogies between artistic, moral, and monetary value.
“One actively is olived, one actively becomes a desired color, desired manufactured ethnicity.”
“I hope it’s not a masochistic impulse within me, but I will always stay until the end to see how a creative thought completes itself.”
To write about Naufus Ramírez-Figueroa is a difficult task.
“In the coy manner of Yoko Ono, we were instructed: ‘Listen.’ (No duh.)”
