Category Archives: WEB/TELEVISION/RADIO

MATTILDA BERNSTEIN SYCAMORE IN CONVERSATION WITH ALEXANDER CHEE

There’s nothing like an election to make you feel hopeless about the possibility for political change. I pick up a magazine promising America’s Essential Recipes, and open it right up to “pork schnitzel.” I’m laughing so hard that everyone at the co-op turns around to see if they can be part of my laughter. And then I’m walking through a field of dandelions. Even if it’s really just the grass between the sidewalk and street I will take this field while I can get it.

The news is always its own trauma, but when the news of the trauma echoes into our lives, past and present at once, the open door never quite closes. Trauma as a curtain that billows around us, a wall we never quite break through. I mean trauma as a weapon. How to make oppression realize its redundancy. But oppression can never realize. Anything but oppression. How saying that something is structural means we need to take it apart or else it’s a weapon we become. — Mattilda Bernstein Sycamore, The Freezer Door

On the occasion of the publication of her new book The Freezer Door, Sycamore will join Alexander Chee—author of the essay collection How to Write an Autobiographical Novel—in conversation.

See link below to register for the online discussion.

MATTILDA BERNSTEIN SYCAMORE IN CONVERSATION WITH ALEXANDER CHEE

McNally Jackson

Tuesday, November 24.

4 pm on the West Coast; 7 pm East Coast.

From top: Mattilda Bernstein Sycamore, photograph by Jesse Mann, courtesy and © the author and the photographer; Sycamore, The Freezer Door, cover image courtesy and © the author and Semiotext(e); Alexander Chee, How to Write an Autobiographical Novel, cover image courtesy and © the author and Houghton Mifflin Harcourt; Chee (foreground left) and Ggreg Taylor at an AIDS demonstration in San Francisco, October 1989, photograph by Marc Geller, courtesy and © the author and the photographer.

LIGIA LEWIS — DEADER THAN DEAD

As the Hammer Museum, the Huntington, and an art-starved public wait for the chance to experience Made in L.A. 2020: a version in person, artist and choreographer Ligia Lewis has created a video documenting deader than dead, her work for the biennial.

Performed by Jasper Marsalis, Jasmine Orpilla, Austyn Rich, and Lewis, deader than dead “began with an intrigue-based inquiry into deadpan, an impassive mannerism deployed in comedic fashion in order to illustrate emotional distance. Utilizing this expression as a type of stasis, Lewis initially developed a choreography for ten dancers that remained expressively flat or dead, resisting any narrative or representational hold tied to a climactic build or progression. Lewis had relegated deader than dead to this corner of the gallery (a kind of ‘dead’ space) where the dance would ostensibly emerge, although deadened in its repetition, limited in its fate, as it ricocheted from wall to wall.

“[Lewis] abandoned this recursive ensemble of death due to COVID-19, reducing the cast to four performers and pivoting to a more traditionally theatrical presentation. In this new work the dancers use Macbeth’s culminating soliloquy (‘Tomorrow, and tomorrow, and tomorrow,’ a reflection on repetition and meaninglessness) as the beginning of a work that unfolds in modular parts, each one an illustration or parody of death, stasis, and the void, each one tied to its own carefully selected soundtrack or sample.”*

See link below to watch the video.

LIGIA LEWIS—DEADER THAN DEAD*

Made in L.A.: a version

Hammer Museum and the Huntington Library, Art Museum, and Gardens

Through March 2021.

Ligia Lewis, deader than dead (2020), Made in L.A. 2020: a version. Video images © Ligia Lewis, courtesy of the artist, the performers, the Hammer Museum, and the Huntington Library, Art Museum, and Gardens.

CAULEEN SMITH AND BRENT HAYES EDWARDS

Anticipating the LACMA exhibition of her touring ICA, University of Pennsylvania show Give It or Leave It, Cauleen Smith will join Brent Hayes Edwards—author of Epistrophies: Jazz and the Literary Imagination—in conversation.

Curator Rita Gonzalez will introduce the online talk. See link below to register for the webinar.

CAULEEN SMITH CONFABULATIONS SERIES—BRENT HAYES EDWARDS

LACMA

Thursday, November 19.

6 pm on the West Coast; 9 pm East Coast.

Cauleen Smith, Give It or Leave It, Institute of Contemporary Art, University of Pennsylvania, curated by Anthony Elms, September 14, 2018–December 23, 2018, from top: I Appreciate You in Advance, 2018, fiberglass screen, woven metallic polyesters, woven two-tone silk; Epistrophe, 2018, multichannel video, color, sound, four CCTV cameras, four monitors, projection, custom wood table, taxidermy raven, wood figures, bronze figures, plastic figures, books, seashells, minerals, jar of starfish, Magic 8-Ball, manekineko, mirror, metal trays, plaster objects, wood objects, wire object, fabric, glass vase, plants; Cauleen Smith, Give It or Leave It (2019) exhibition catalog images (5), courtesy and © the artist and the ICA, University of Pennsylvania; Pilgrim, 2017, still; Give It or Leave It installation view, photograph by Constance Mensh for the ICA. Images © Cauleen Smith, courtesy of the artist, Resnicow and Associates, and the ICA, University of Pennsylvania.

LYNELL GEORGE ON OCTAVIA BUTLER

I had been making up stories and telling them to myself since I was five or six. Because my mother, in an effort to make me read, refused to tell them to me. I did read. We were lucky enough not to be able to afford a television at the time, so I read everything…Octavia Butler

Lynell George—author of the new book A Handful of Earth, a Handful of Sky: The World of Octavia E. Butler—will join Los Angeles Times reporter Julia Wick for an online discussion of Butler’s work, life, and legacy.

See link below to register.

THE WORLDS OF OCTAVIA E. BUTLER, WITH LYNELL GEORGE

Wednesday, November 18.

7 pm on the West Coast; 10 pm East Coast.

From top: Octavia Butler, photograph by Patti Perret, image © the photographer, courtesy of the Huntington Library, Art Museum, and Botanical Gardens; Lynell George, A Handful of Earth, a Handful of Sky: The World of Octavia E. Butler (2020) cover image courtesy and © Angel City Press; Lynell George, photograph courtesy of the author; George, No Crystal Stair: African Americans in the City of Angels (1992), cover image courtesy and © Verso.

CONTINUOUS REPLAY PERFORMANCE AND FUNDRAISER

As part of a fundraiser for Black Strategy FundThe Brotherhood Sister Sol, and Buy From A Black Woman, the Bill T. Jones / Arnie Zane Company presents a virtual recreation of Zane’s CONTINUOUS REPLAY.

Amidst the isolation and racial uprisings in the early summer of 2020 as the COVID-19 pandemic continued its spread, forty-four current and former company members came together (while being apart) to create something as a community in support of the Black Lives Matter movement… In 1991, three years after Arnie’s passing at the height of the AIDS pandemic, Jones made Arnie’s CONTINUOUS REPLAY choreography into a full company work—which has connected generations of company members and was, for most of them, the only way to know Arnie. The diverse cast of performers spanning four decades—including Arthur Aviles, Sean Curran, Odile Reine-Adelaide, Stefanie Batten Bland, Rosalynde LeBlanc, Heidi Latsky, Jenna Riegel, and many others—filmed themselves while in isolation across four continents. The original soundtrack is created by composer John Oswald and editing of the videos was done by Associate Artistic Director Janet Wong.*

See link below for details.

BILL T. JONES—CONTINUOUS REPLY: COME TOGETHER*

Thursday, November 19.

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

From top: Bill T. Jones and Arnie Zane; Zane, Continuous Replay, Maison de la Danse de Lyon, 1993 performance, image courtesy Numeridanse; Continuous Replay: Come Together; Jones, photograph by Anthony Barboza, courtesy and © the photographer and Getty Images; Zane and Jones, Secret PasturesBAM Next Wave Festival, 1984, set design by Keith Haring, 1984, photograph by Tom Caravaglia, courtesy and © the photographer and the Keith Haring Foundation.