Category Archives: PERFORMANCE

GENESIS BREYER P-ORRIDGE — PANDROGENY I & II

Some people feel they are a man trapped in a woman’s body. Some people feel they are a woman trapped in a man’s body. A pandrogyne just feels trapped in a body.Genesis Breyer P-orridge, 2019

Genesis Breyer P-Orridge—co-founder of Throbbing Gristle and Psychic TV, and co-author of Brion Gysin: His Name Was Master—presents PANDROGENY I & II—AN OUTER BODY EXHIBITION, h/er first California art show, in collaboration with Tom of Finland and Lethal Amounts.

GENESIS AND LADY JAYE BREYER P-ORRIDGE—PANDROGENY I & II

Through November 24.

Tom of Finland House

1421 Laveta Terrace, Echo Park, Los Angeles.

Lethal Amounts

1226 West 7th Street, Westlake, Los Angeles.

See Breyer P-Orridge interview with Emily Colucci.

From top: Genesis P-Orridge, Untitled (self-portrait), 2004, Polaroid; Genesis and Lady Jaye Breyer P-Orridge; Pandrogeny I & II invitation; P-Orridge playing with Throbbing Gristle at the YMCA, London, August 3, 1979, photograph by David Corio/Redferns; Genesis Breyer P-Orridge, photograph by Peter Dibdin. Images courtesy and © Genesis Breyer P-Orridge, the photographers, the Tom of Finland Foundation, and Lethal Amounts.

MASKULINITÄTEN

What does a feminist exhibition on masculinity look like? This was the question asked by curators Eva Birkenstock, Michelle Cotton, and Nikola Dietrich while organizing MASKULINITÄTEN, their three-part exhibition now open in Bonn, Cologne, and Düsseldorf.

The Bonn section—curated by Cotton, head of Artistic Programmes and Content at Mudam, Luxembourg—includes work by Lynda Benglis, Judith Bernstein, Alexandra Bircken, Patricia L. Boyd, Jana Euler, Hal FischerEunice Golden, Richard Hawkins, Jenny Holzer, Hudinilson Jr., Allison Katz, Mahmoud Khaled, Hilary Lloyd, Sarah Lucas, Robert Morris, D’Ette Nogle, Puppies Puppies (Jade Kuriki Olivo), Bea Schlingelhoff, and Anita Steckel.

The Cologne section—curated by Dietrich, director of the Kölnischer Kunstverein—includes Georgia Anderson & David Doherty & Morag Keil & Henry Stringer, Louis Backhouse, Olga Balema, Gerry Bibby, Juliette Blightman, Anders Clausen, Enrico David, Jonathas de Andrade, Jimmy DeSana, Hedi El Kholti, Hilary Lloyd, Shahryar Nashat, Carol Rama, Bea Schlingelhoff, Heji Shin, Evelyn Taocheng Wang, Carrie Mae Weems, Marianne Wex, Martin Wong, and Katharina Wulff.

The presentation in Düsseldorf—curated by Birkenstock, director of the Kunstverein for the Rheinland and Westfalen, Düsseldorf—features the work of Vito Acconci, The Agency, Keren Cytter, Vaginal Davis, Nicole Eisenman, Andrea Fraser, keyon gaskin with Samiya Bashir, sidony o’neal & Adee Roberson, Philipp GuflerAnnette Kennerley, Sister Corita Kent, Jürgen Klauke, Jutta Koether, Tetsumi Kudo, Klara LidénHenrik Olesen, D.A. Pennebaker & Chris Hegedus, Josephine Pryde, Lorenzo Sandoval, Julia Scher, Agnes Scherer, Bea Schlingelhoff, Katharina Sieverding, Nancy Spero, and Evelyn Taocheng Wang.

MASKULINITÄTEN will be accompanied by a catalogue published by Koenig Books, with contributions by—among others—CAConrad, Nelly Gawellek, Chris Kraus, Quinn Latimer, Kerstin Stakemeier, Marlene Streeruwitz, and Änne Söll.

MASKULINITÄTEN

Through November 24.

Bonner Kunstverein

Hochstadenring 22, Bonn.

Kölnischer Kunstverein

Hahnenstrasse 6, Cologne.

Kunstverein Düsseldorf

Grabbeplatz 4, Düsseldorf.

Maskulinitäten, a co-operation of the Bonner Kunstverein, Kölnischem Kunstverein, and Kunstverein für die Rheinlande und Westfalen, Düsseldorf, September 1–November 24, 2019. Cologne installation photographs by Mareike Tocha, except second from top and fourth from bottom, by Katja Illner. Images courtesy and © the artists, the institutions, and the photographers.

ANNE TERESA DE KEERSMAEKER IN PERFORMANCE AND CONVERSATION

On the opening day of her dance installation at Kunstsammlung NRW, Anne Teresa De Keersmaeker will participate in an artist talk with Kunstahalle Basel director and curator Elena Filipovic, who edited De Keersmaeker’s exhibition catalog Work / Travail / Arbeid.

The installation—curated by Isabelle Malz—is a reconception of De Keersmaeker’s 1982 work FASE, FOUR MOVEMENTS TO THE MUSIC OF STEVE REICH. The piece will also be performed once in a stage version at Tanzhaus NRW.

The dancers—in alternating pairs—are Laura Bachman and Soa Ratsifandrihana, and Yuika Hashimoto and Laura Maria Poletti.

Following the presentation in Düsseldorf, De Keersmaeker will return to New York City where she is choreographing Ivo van Hove’s new Broadway production of Leonard Bernstein and Stephen Sondheim’s West Side Story. Previews begin on December 10, with opening night set for February 6, 2020.

ANNE TERESA DE KEERSMAEKER / ROSAS—FASE, FOUR MOVEMENTS TO THE MUSIC OF STEVE REICH installation

October 29–November 10, 2019.

Starting every hour from noon.

ANNE TERESA DE KEERSMAEKER IN CONVERSATION with ELENA FILIPOVIC

Tuesday, October 29, at 6 pm.

Kunstsammlung Nordrhein-Westfalen K20

Grabbeplatz 5, Düsseldorf.

ANNE TERESA DE KEERSMAEKER / ROSAS—FASE, FOUR MOVEMENTS TO THE MUSIC OF STEVE REICH stage adaptation

Saturday, November 9, at 8 pm.

Tanzhaus Nordrhein-Westfalen

Erkrather Strasse 30, Düsseldorf.

From top: Anne Teresa De Keersmaeker; De Keersmaeker (left) and Michèle Anne De Mey performing Fase, Four Movements to the Music of Steve Reich in 1999, photograph by Stephanie Berger (second from top and below); De Keersmaeker, Fase, 2018, Soa Ratsifandrihana (left) and Laura Bachman (2); Laura Maria Poletti; Ratsifandrihana and Bachman; Yuika Hashimoto and Poletti; Hashimoto; photographs by Anne Van Aerschot. Anne Teresa De Keersmaeker—Work / Travail / Arbeid, edited by Elena Filipovic, image courtesy and © Wiels (above). Dance images courtesy and © the choreographer, the dancers, and the photographers.

LYNN GOLDSMITH AND PATTI SMITH

BEFORE EASTER AFTER—photographer Lynn Goldsmith’s deluxe collaboration with Patti Smith—is forthcoming from Taschen.

This week, join Goldsmith and Smith for a public conversation and live performance.

LYNN GOLDSMITH with PATTI SMITH

Friday, October 25, at 7 pm.

Museum of Contemporary Art Chicago—Edlis Neeson Theater

220 East Chicago Avenue (use Pearson Street entrance), Chicago.

Lynn Goldsmith and Patti Smith, Before Easter After, 2019, Taschen; book cover image (third from top); Smith with Lenny Kaye (above); Patti Smith—Easter cover, 1978 (below). Images courtesy and © Lynn Goldsmith, Patti Smith, and Taschen. Photograph of Smith and Goldsmith signing books at Taschen launch in Beverly Hills, October 8, 2019, courtesy and © Charley Gallay and Taschen.

BALANCHINE’S JEWELS AT THE MUSIC CENTER

JEWELS (1967) is the three-part dance George Balanchine made in tribute to his early years at the Mariinsky Theater’s ballet school, where he learned techniques in mime and character and absorbed the school’s academic style. JEWELSEmeralds, Rubies, and Diamonds—is also, according to Arlene Croce, “unsurpassed as a Balanchine primer, incorporating in a single evening every important article of faith to which this choreographer subscribed and a burst of heresy, too, to remind us that he willingly reversed himself on occasion.”*

The heresy was the creation—on Edward Villella, for Rubies—of a major role for a male dancer equal to his female partners. Balanchine was famously preoccupied with his ballerinas, and his danseurs were there as support—in his words, “very important as princes and attendants to the queen, but woman is the queen.”* So Rubies—set to music by Igor Stravinsky—is the anomaly, falling between the choreographer’s great showcases for his primas: Emeralds (music by Gabriel Fauré) and Diamonds (Tchaikovsky).

As the opening engagement of the 2019–2020 season of Glorya Kaufman Presents Dance at The Music Center, the Mariinsky Ballet—accompanied by the Mariinsky Orchestra—will dance five performances of Balanchine’s JEWELS, which is titled for its gem-encrusted costumes as well as the necklace strands and diamond shapes of its choreography, an aspect best seen from the upper balcony. See link below for casting.

MARIINSKY BALLET—GEORGE BALANCHINE’S JEWELS

Thursday through Saturday, October 24, 25, and 26, at 7:30 pm.

Saturday and Sunday, October 26 and 27, at 2 pm.

Dorothy Chandler Pavilion

135 North Grand Avenue, downtown Los Angeles.

*Arlene Croce, “A Balanchine Triptych,” in Writing in the Dark, Dancing in The New Yorker (New York: Farrar, Straus & Giroux, 2000), 449–456.

George Balanchine, Jewels, performed by the Mariinsky Ballet. Photographs, except above, by Natasha Razina. Above photograph by Svetlana Avvakum. Images courtesy and © the photographers, the dancers, and State Academic Mariinsky Theatre.