CalArts Archive, from top: Conny Cavazos, Lei Lei, 2019; Onyou Kim and Vivian Naranjo, Martha Friedman, 2017; Florencio Zavala and Victor Hu, Miranda July & Phil Elverum, 2007; Jae-Hyouk Sung, Matmos, 2003; Cassandra Cisneros, Juyoung Kim, and SoYun Cho, Redcat: Cauleen Smith: “Black Utopia LP,” 2013; Jens Gehlhaar, Anthony Hernandez: Landscape for the Homeless, 1997; Bijan Berahimi and Sarah Faith Gottesdiener, No Age & Brian Roettinger, 2013; Angela Bac and Jessie Zo, 2014 CalArts Halloween, 2014; Scott Barry, Rachel Harrison (3/3), 2010; Louise Sandhaus, Ed Fella Farewell Lecture: Educated, Philosofated, Detroitated, Esplicated, 2013; Allison Hsiao, Redcat: Adentro, 2018. Images courtesy and © the artists and CalArts.
If I am right to think this is the greatest creation of dance theater so far this century, we’re fortunate that FOUR QUARTETS will travel to other stages. I long to become more deeply acquainted with the many layers of its stage poetry. — Alastair Macaulay
In great demand and at the height of her powers, Pam Tanowitz creates work that bridges contemporary dance and ballet. Her FOUR QUARTETS—the most acclaimed dance work of the past two decades—is a collaboration with Brice Marden, who created the set images, and composer Kaija Saariaho.
The title refers to T. S. Eliot’s poetry cycle, which provided the inspiration and text for the work, read in performance by Kathleen Chalfant.
This weekend, CAP UCLA presents two performances of FOUR QUARTETS at Royce Hall. Dancers include Kara Chan, Jason Collins, Dylan Crossman, Christine Flores, Zachary Gonder, Lindsey Jones, Victor Lozano, Maile Okamura, and Melissa Toogood.
The scenic and lighting design is by Clifton Taylor, the costume design by Reid Bartelme and Harriet Jung, and the sound design by Jean-Baptiste Barriére. Saariaho’s music will be performed by The Knights.
Saturday, February 15, at 8 pm.
Sunday, February 16, at 3 pm.
Royce Hall, UCLA
10745 Dickson Court, Los Angeles.
Pam Tanowitz, Brice Marden, Kaija Saariaho, Four Quartets, in performance. Photographs by Maria Baranova. Images courtesy and © the artists, the dancers, the photographer, and CAP UCLA.
Through February 24.
Fondation Louis Vuitton
8 avenue du Mahatma Gandhi, 16th, Paris.
From top: Charlotte Perriand in the Chaise longue basculante B 306, 1929; Perriand, Agence Air France, 1957, photograph by Gaston Karquel; Le Corbusier, Pierre Jeanneret, and Perriand, Dining Room 28, included her tubular steel chair; Perriand, sketch of house elevation, 1993; Fernand Léger (left), Perriand, Le Corbusier (Charles Edouard Jeanneret), Albert Jeanneret, Pierre Jeanneret, and Matila Ghyka, Athens, 1933; Le monde nouveau de Charlotte Perriand exhibition catalog, Fondation Louis Vuitton and Gallimard; Perriand, Work and Sport, 1927–1929; Perriand, revolving chair, 1927; Dining Room 28 reproduction, Fondation Louis Vuitton. Images courtesy and © Adagp, Paris, 2019, the Vitra Design Museum, and the Archives Charlotte Perriand.
This picture will be science fiction. You are astonished? But science fiction can be in the past as well as the future. This picture is a trip back to Nero’s time, and that means it is a trip into an unknown dimension. What do we know about the Romans? This has made problems for me. My other pictures have all been autobiographical to one degree or another… But now I must become detached, and that has been very hard work.
First I have to invent this world of Nero. Then I must see it from a very narrow point of view, so it will appear foreign and unknown. I am examining ancient Rome as if this were a documentary about the customs and habits of the Martians. To be detached from your own creation is unnatural—I must look on my son as a stranger…
Because the film is so detached, the sex in it will not be erotic. Everyone says Fellini is making a dirty movie. But everything will be abstract, detached. The sex in SATYRICON will be like those ancient Indian statues on the positions of love. Even as you see a woman kissing a monster, it means nothing, because it is so old, so far away, from another civilization…
If you see with innocent eyes, everything is divine… All artists are equal when they are themselves. — Federico Fellini
Wednesday, January 22, at 7 pm.
11523 Santa Monica Boulevard, West Los Angeles.
673 East Colorado Boulevard, Pasadena.
2017 North Maryland Avenue, Glendale.
Federico Fellini, Fellini Satyricon (1969), from top: Hiram Keller; Keller and Martin Potter (right); Mario Romagnoli (right); Fellini with actor on set; Fellini Satyricon; Capucine; U.S. poster; Fellini Satyricon; Keller.
I’m interested in awkward operas; operas in which there are unsolved riddles… in which there’s a space—both musically and thematically—for a world to evolve and be imagined around the story. — William Kentridge
In conjunction with the upcoming Metropolitan Opera’s new production of Alban Berg’s WOZZECK—featuring production design by Kentridge—the artist will be at the Morgan Library and Museum for a talk about his work.
Sunday, December 1, at 3 pm.
Morgan Library and Museum
225 Madison Avenue (at 36th Street), New York City.
From top: William Kentridge in his Johannesburg studio, early movement rehearsal for Wozzeck; Peter Mattei in the title role; Elza van den Heever as Marie; Kentridge charcoal drawing backdrop; Kentridge in his studio; performers and Kentridge in his studio (3). Images courtesy and © the artist, the performers, the photographers and videographers, and the Metropolitan Opera.