Category Archives: PERFORMANCE


A retrospective of work by Tacita Dean is on view at EMMA in Finland through this weekend.


Through August 2.

Espoo Museum of Modern Art

Ahertajantie 5, Tapiola, Espoo.

Tacita Dean, Espoo Museum of Modern Art, February 26, 2020–August 2, 2020, from top: Quatemary, 2014 (detail), photographs, photogravure in ten parts on Somerset White Satin; Stephen Dillane in Event for a Stage, 2015 (2); Veteran Cloud, 2016; The Book End of Time, 2013, black and white photograph on fiber-based paper; His Picture in Little, 2017, film still, 35mm color anamorphic film, silent, reduced to spherical 16mm for EMMA exhibition as a miniature, continuous loop, 15 minutes 30 seconds; Ear on a Worm, 2017, film still, 16mm color film with optical sound, continuous loop, 3 minutes 33 seconds; Chalk Fall, 2018, chalk on blackboard; Pantone Pairs, 2019 (detail), found postcards from the artist’s collection, printed and framed according to the artist’s instructions; Dillane in Event for a Stage; Quatemary, 2014 (detail), photographs, photogravure in ten parts on Somerset White Satin (detail). Images courtesy and © the artist, Frith Street Gallery, and Marian Goodman Gallery.


Verónica Bayetti Flores will join Evan Moffitt for an online conversation about Arca and her new album KiCk i.

See links below for album streaming and webinar registration.



Wednesday, July 22.

10 am on the West Coast; 1 pm East Coast; 6 pm London; 7 pm Paris.

From top: Arca; Arca, Nonbinary, 2020, courtesy Frederik Heyman; Arca, KiCk i album cover; Arca, photograph by Hart Lëshkina; Arca, Mequetrefe (Deadbeat), 2020, courtesy Carlos Sáez. Images courtesy and © Arca and the photographers.


AUSTYN RICH takes over Redcat’s social media on Saturday with a preview of new work, a look at life in quarantine, and a special presentation of LUNCHBOX—A MOVEMENT COMPOSITION SESSION.

My new project, LUNCHBOX, consists of a movement composition session where participants and l gather to share movement compositions in response to prompts or ideas I have prepared. Participants are given the opportunity to share their short pieces by using the “request-to-join” feature. This session will not be a performance but space to exercise movement expression. — AUSTYN RICH

See link below for more details.


Saturday, July 11.

5 pm on the West Coast; 8 pm East Coast.

AUSTYN RICH, from top: Photograph by Laura McCluskey; STAY SANE, photograph by Sam Trotter; BITE (2), photographs by Brian Hashimoto; TECHNICAL FOUL, photograph by Hiroshi Clark. Images courtesy and © the photographers and AUSTYN RICH.


Perfume Genius / Mike Hadreas—whose new album Set My Heart on Fire Immediately is out now—will perform on the series LIVE ON KEXP AT HOME.


Thursday, June 25.

3 pm on the West Coast; 6 pm East Coast.

Perfume Genius, photographs by Camille Vivier. Images courtesy and © the photographer and Perfume Genius.


Dear White American Theater,

We come together as a community of Black, Indigenous, and People of Color
(BIPOC) theatermakers, in the legacy of August Wilson’s “The Ground on Which I Stand,” to let you know exactly what ground we stand on in the wake of our nation’s civic unrest.

We see you. We have always seen you. We have watched you pretend not to see us.

We have watched you un-challenge your white privilege, inviting us to traffic in the very racism and patriarchy that festers in our bodies, while we protest against it on your stages. We see you.

We have watched you program play after play, written, directed, cast, choreographed, designed, acted, dramaturged and produced by your rosters of white theatermakers for white audiences, while relegating a token, if any, slot for a BIPOC play. We see you.

We have watched you amplify our voices when we are heralded by the press, but refuse to defend our aesthetic when we are not, allowing our livelihoods to be destroyed by a monolithic and racist critical culture. We see you.

We have watched you inadequately compare us to each other, allowing the failure of entire productions to be attributed to decisions you forced upon us for the comfort of your theater’s white patrons. Meanwhile, you continue to deprioritize the broadening of your audiences by building NO relationship with our communities. We see you.

We have watched you harm your BIPOC staff members, asking us to do your emotional labor by writing your Equity, Diversity and Inclusion statements. When we demanded you live up to your own creeds, you cowered behind old racist laments of feeling threatened, and then discarded us along with the values you claim to uphold. We see you.

We have watched you discredit the contributions of BIPOC theatres, only to co-opt and annex our work, our scholars, our talent, and our funding. We see you.

We have watched you turn a blind eye as unions refuse to confront their racism and integrate their ranks, muting the authenticity of our culture and only reserving space for us to shine out front on your stages but never behind them. We see you.

We have watched you dangle opportunities like carrots before emerging BIPOC artists, using the power of development, production, and awards to quiet us into obedience at the expense of our art and integrity. We see you.

We have watched you use our BIPOC faces on your brochures, asking us to politely shuffle at your galas, talkbacks, panels, board meetings, and donor dinners, in rooms full of white faces, without being willing to defend the sanctity of our bodies beyond the stages you make us jump through hoops to be considered for. We see you.

We have watched you hustle for local, federal, foundation and private funding on our backs, only to redirect the funds into general operating accounts to cover your deficits from years of fiscal mismanagement. We see you.

We have watched you hire the first BIPOC artists in executive leadership, only to undermine our innovations and vision of creating equitable institutions, by suffocating our efforts with your fear, inadequacy, and mediocrity. We see you.

We have watched you attend one “undoing racism workshop,” espousing to funders you are doing the work, without any changes to your programming or leadership. You’ve been unwilling to even say the words “anti-racism” to your boards out of fear of them divesting from your institutions, prioritizing their privilege over our safety. We see you.

We have watched you promote anti-Blackness again and again. We see you.

We have watched you say things like, “I may be white, but I’m a woman.” Or, “I may be white, but I’m gay.” As if oppression isn’t multi-layered. We see you.

We have watched you exploit us, shame us, diminish us, and exclude us. We see you.

We have always seen you. And now you will see us. We stand on this ground as BIPOC theatermakers, multi-generational, at varied stages in our careers, but fiercely in love with the Theater. Too much to continue it under abuse. We will wrap the least privileged among us in protection, and fearlessly share our many truths. About theatres, executive leaders, critics, casting directors, agents, unions, commercial producers, universities, and training programs. You are all a part of this house of cards built on white fragility and supremacy. And this is a house that will not stand.

This ends TODAY.

We are about to introduce you… to yourself.



From top: Cynthia Erivo in 2015 in the original Broadway production of Marsha Norman, Brenda Russell, Allee Willis, and Stephen Bray’s The Color Purple, based on the novel by Alice Walker, photograph by Jemal Countess; Condola Rashad in the 2018 revival of George Bernard Shaw’s Saint Joan, photograph by Caitlin Ochs; Lilias White, photograph by Kevin Mazur; Suzan-Lori Parks, photograph by Melodie Jeng; Lynn Nottage, photograph by Jesse Dittmar; Sanaa Lathan in the title role of the Second Stage Theatre’s 2011 production of Nottage’s By the Way, Meet Vera Stark; Anika Noni Rose in the 2018 revival of Oscar Hammerstein II’s Carmen Jones, music by Georges Bizet; Viola Davis in the 2010 Broadway revival of August Wilson’s Fences. Text courtesy and © The Ground We Stand On.