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, PatriciaL. Boyd, Jana Euler, Hal Fischer, Eunice 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 AnitaSteckel.
The Cologne section—curated by Dietrich, director of the Kölnischer Kunstverein—includes Georgia Anderson & David Doherty & Morag Keil & Henry Stringer, Louis Backhouse, OlgaBalema,Gerry Bibby, Juliette Blightman, Anders Clausen, Enrico David, Jonathas deAndrade, Jimmy DeSana, Hedi El Kholti, Hilary Lloyd, Shahryar Nashat, CarolRama, Bea Schlingelhoff, Heji Shin, Evelyn Taocheng Wang, Carrie Mae Weems, MarianneWex, Martin Wong, and Katharina Wulff.
The presentation in Düsseldorf—curated by Birkenstock, director of the Kunstverein for theRheinland and Westfalen, Düsseldorf—features the work of Vito Acconci, The Agency, KerenCytter, Vaginal Davis, Nicole Eisenman, Andrea Fraser, keyon gaskin with Samiya Bashir, sidony o’neal & Adee Roberson, Philipp Gufler, Annette Kennerley, Sister Corita Kent, Jürgen Klauke, Jutta Koether, Tetsumi Kudo, Klara Lidén, Henrik Olesen, D.A. Pennebaker & Chris Hegedus, Josephine Pryde, Lorenzo Sandoval, Julia Scher, Agnes Scherer, BeaSchlingelhoff, 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.
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 YuikaHashimoto 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 StephenSondheim’s West Side Story. Previews begin on December 10, with opening night set for February 6, 2020.
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. JEWELS—Emeralds, 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.