Performance Art
On the murder of a performance artist set out to heal a war-torn world.
On the murder of a performance artist set out to heal a war-torn world.
Co-presented by Museum of Arts and Design and BOMB Magazine
The performance artist aka Dynasty Handbag recounts her journey from the San Francisco DIY scene to New York’s avant-garde theater world and ultimately to Hollywood.
The Puerto Rican punk-DIY performance collective on challenging institutional norms for making theater.
Discipline, resistance, and care flow through the performance artist’s work.
The New York-based painter and video artist on the tragicomic nature of wannabes and scenesters.
Iñupiaq futures, language, and the spaces between performance and installation.
Sisters Lydela and Michel Nonó conduct performative interventions at their art space/home in Puerto Rico, using improvisation to process family memories and trace the wounds of colonialism.
“Right, they weren’t paintings, they weren’t colorful, but I kept doing them because that’s what would come to me. I could have stopped, I suppose, but to me they seemed like good pieces and they were in line with my thinking. Artists do what they think is important to them in their life span. That’s what they’ve always done—Rembrandt or Van Gogh or Picasso. They did what they did because they thought it was important.”
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.”