Author Archives: Barlo Perry

AFI FEST 2019 — AND THEN WE DANCED

Although AND THEN WE DANCED—the first LGBTQ drama set in Georgia—has received widespread critical acclaim across Eastern Europe (winning Best Film and Best Actor this year at Odessa), the film’s shooting schedule was frequently disrupted and the set in Tbilisi often resembled a guerrilla production. Earlier this month right-wing groups staged protests at the premiere, and it was noted that the film’s choreographer is credited as “Anonymous,” for fear of losing his job.

A story of same-sex attraction among members of the National Georgian Ensemble, AND THEN WE DANCED will screen on the closing days of this year’s AFI FEST presented by Audi. The film’s leads—Levan Gelbakhiani (a phenomenal young actor making his debut), and Bachi Valishvili—will join their director Levan Akin for post-screening conversations with the audience.

AND THEN WE DANCED

Wednesday, November 20, at 2:45 pm.

Thursday, November 21, at 8:45 pm.

Chinese Theatre

6801 Hollywood Boulevard, Los Angeles.

Levan Akin, And Then We Danced (2019), from top: Levan Gelbakhiani; Gelbakhiani and Anna Javakishvili; Bachi Valishvili (left) and Gelbakhiani (2); poster; Gelbakhiani and Valishvili (2). Images courtesy and © the filmmaker, the actors, the photographers, Quarter Film, and Takes Film.

TORKWASE DYSON — PLANTATIONOCENE, ACT II

Deja Smith, Arthur Jafa, and Gaika are featured in I SEE YOU ACROSS THAT WATER—Act II of Torkwase Dyson’s performance-sculptural piece I CAN DRINK THE DISTANCE: PLANTATIONOCENE IN TWO ACTS—co-presented this week by Performa and Pace as part of the gallery’s inaugural Pace Live program.

I SEE YOU ACROSS THAT WATER

Friday, November 22, at 8 pm.

Pace Live

540 West 25th Street, seventh floor, New York City.

Torkwase Dyson, I Can Drink the Distance: Plantationocene in Two Acts, 2019, performance and installation images (top and below) courtesy and © the artists, the photographer, and Pace. Torkwase Dyson, Nautical Disk, 2018, photographs (portrait of Dyson, second from top, and installation and performance, above) by Gabe Souza. Images courtesy and © the artists, the photographer, and the Colby Museum of Art and Lunder Institute.

JA’TOVIA GARY — THE GIVERNY DOCUMENT

I want to corroborate Black women’s reality. Some of us feel safe and some of us do not, but within that spectrum, there’s grief, there’s relief, there’s whimsy. There are feelings of anxiety and apprehension, but also faith and trust. Our inner world is layered and super vast, and I want us to be able to see that depicted on the screen, witness Black women having these interior moments…

I call myself a director who edits, but I’m probably an editor who directs … The idea of handing this over to someone else is so foreign, so counterintuitive. For me, that’s where the real making takes place. So my process is sourcing footage from everywhere, whether that be the internet or some image I’m creating myself or a collaboration with a DP or an archive. But the actual process begins once we sit down at that hard drive, because it’s important for me to have that level of control. Ja’Tovia Gary, interview with Rooney Elmi, 2019

This week at the AFI FEST presented by Audi, Gary brings her new 40-minute film THE GIVERNY DOCUMENT—which incorporates footage shot in New York City and at Monet’s historic gardens in France.

THE GIVERNY DOCUMENT will be preceded by BLACK BUS STOP (9 min,), directed by Kevin Jerome Everson and Claudrena N. Harold.

THE GIVERNY DOCUMENT—SHORTS PROGRAM 6

Tuesday, November 19, at 7:45 pm.

Wednesday, November 20, at 3:15 pm.

Chinese Theatre

6801 Hollywood Boulevard, Los Angeles.

From top: Ja’Tovia Gary, image courtesy and © the artist and the photographer; Ja’Tovia Gary, The Giverny Document (2019), images courtesy and © the artist.

DONNA DE SALVO ON WARHOL

As part of the Warhol Lecture Series, Donna De Salvo—curator of the exhibition ANDY WARHOL—FROM A TO B AND BACK AGAIN, organized by the Whitney and now at the Art Institute of Chicago—will talk about the artist’s impact and importance, followed by a reception and dinner on the Near North Side.

DONNA DE SALVO

Wednesday, November 20, at 6 pm.

Art Institute of Chicago, Fullerton Hall

111 South Michigan Avenue, Chicago.

Reception and Dinner

Luxbar

18 East Bellevue Place, Chicago.

Andy Warhol—From A to B and Back Again, Art Institute of Chicago, October 20– January 26, 2020, from top: Self-Portrait, 1966, Art Institute of Chicago; Gun, 1981–82, San Francisco Museum of Modern Art; Nine Jackies, 1964, Whitney Museum of American Art, New York; Ladies and Gentlemen (Marsha P. Johnson), 1975, Museum Brandhorst, Munich; Green Coca-Cola Bottles, 1962, Whitney Museum of American Art, New York; Skull, 1976, collection Larry Gagosian; Big Electric Chair, 1967–1968, Art Institute of Chicago; Shot Orange Marilyn, 1964. Images courtesy and © the lenders and the Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

DARRYL PINCKNEY AND MARGO JEFFERSON IN CONVERSATION

Darryl Pinckney—longtime contributor to the New York Review of Books and the author of the novel Black Deutschland—will join Margo Jefferson for a conversation about the essays in his new collection Busted in New York, the “cumulative effect of [which]… is a contextualization of recent history in a manner only Pinckney’s prose can articulate.”*

BUSTED IN NEW YORK—DARRYL PINCKNEY WITH MARGO JEFFERSON*

Monday, November 18, at 6:30 pm.

New York Public Library

Wachenheim Trustees Room

476 Fifth Avenue (at 42nd Street), New York City.

From top: Darryl Pinckney, photograph by Dominique Nabokov; Darryl Pinckney, Busted in New York and Other Essays, 2019, cover image courtesy and © Farrar, Straus and Giroux; Margo Jefferson, Negroland: A Memoir, 2015, cover image courtesy and © Pantheon; Jefferson. Images courtesy and © the authors and photographers.