LIZ CRAFT — ESCAPE FROM NEW YORK

I think everyday life is complicated, and I try and show this. I feel like with language we try and tidy things up and put them in categories or simple forms so we can deal with them. We have to—otherwise the world would be too overwhelming. But in the arts I think it’s possible to show the multidimensional qualities of life.Liz Craft

ESCAPE FROM NEW YORK—an exhibition at Baby Company of Craft’s new work—will be on view for two more weeks.

LIZ CRAFT—ESCAPE FROM NEW YORK

Through November 24.

Baby Company

73 Allen Street, 3rd floor, New York City.

See …my life in the sunshine—Liz Craft 2006–2017.

Liz Craft, Escape From New York, October 23–November 24, 2019, Baby Company, from top: Woman (1), 2019, aluminum; Full, 2019, steel, ceramic tile, clothing; Sprinkler Mouths 4, 2019, spray paint on aluminum; Witch Finger (Pinky), 2019, mixed media, ceramic tile, aluminum; Girl (1) , 2019, aluminum. Images courtesy and © the artist and Company Gallery, New York.

ÉDOUARD LOUIS, STAGED

In conjunction with the theatrical production of two plays based on his books, Édouard Louis will give a talk—moderated by the New Yorker theater critic Alexandra Schwartz—at the Brooklyn Academy of Music.

Co-presented by BAM and St. Ann’s Warehouse, performances of Thomas Ostermeier, Florian Borchmeyer, and Louis’ adaptation of HISTORY OF VIOLENCE begin at St. Ann’s on November 13. THE END OF EDDY—adapted by Pamela Carter—starts at BAM the following night.

ÉDOUARD LOUIS IN CONVERSATION

Monday, November 11, at 7 pm.

BAM Fisher, Fishman Space

321 Ashland Place, Brooklyn.

From top: Laurenz Laufenberg (left) and Renato Schuch in History of Violence; Laufenberg, Schuch, and Alina Stiegler; Laufenberg and Schuch; Oseloka Obi (left) and James Russell-Morley in The End of Eddy; Russell-Morley and Obi; Stiegler and Laufenberg; Laufenberg (on ground). History of Violence photographs by Arno Declair; The End of Eddy photographs by Sarah Walker. Images courtesy and © the producers, the performers, and the photographers.

PHILIP KAUFMAN AND JULIETTE BINOCHE IN CONVERSATION

Philip Kaufman has never done anything like this, but his experiment is a success in tone. He has made a movie in which reality is asked to coexist with a world of pure sensuality, and almost, for a moment, seems to agree. Roger Ebert, 1988

Following an American Cinematheque 35mm presentation of Kaufman’s masterwork THE UNBEARABLE LIGHTNESS OF BEING—co-written by Jean-Claude Carrière—join Juliette Binoche and the writer-director for a post-screening Q & A.

PHILIP KAUFMAN and JULIETTE BINOCHE

THE UNBEARABLE LIGHTNESS OF BEING

Sunday, November 10, at 5 pm.

Aero Theatre

1328 Montana Avenue, Santa Monica.

Philip Kaufman, The Unbearable Lightness of Being (1988), from top: Daniel Day-Lewis and Juliette Binoche; Lena Olin (2), Day-Lewis and Olin. Images courtesy and © the filmmaker, the actors, and the Saul Zaentz Company.

NAO BUSTAMANTE IS DELUSIONAL

This week, Dirty Looks and Redcat present a twenty-five-year retrospective of Nao Bustamante’s film, video, and performance work.

“Playing a variety of televisual modes off of one another—telenovela, true crime, reality TV and artist’s video—the program ricochets across media, ruminating on the brown body in an ever-shifting American pop culture landscape, questioning the role of the artist to probe, exploit, engage, and untangle this mess we’re in.”*

NAO BUSTAMANTE IS DELUSIONAL (ON SCREEN)*

Thursday, November 7, at 8:30 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

Nao Bustamante. Images courtesy and © the artist, the photographers, and the New Museum.

MICHAEL KEEGAN-DOLAN’S SWAN LAKE

Matthew Bourne, with his aggressive male swans and nightclub scenes, took Swan Lake in one direction. Michael Keegan-Dolan’s short, Tchaikovsky-free take—LOCH NA HEALA (SWAN LAKE)—goes somewhere else altogether. Inspired by a number of folktales, including “The Children of Lir,” and updated to present-day Ireland, Keegan-Dolan gives us predatory priests, suicidal depressives, and Mikel Murfi as a goat, leading up to an exhilarating, shambolic climax.

This dance-theater-performance art hybrid—performed by Keegan-Dolan’s company, Teaċ Daṁsa, and co-presented by UCLA’s Center for the Art of Performance and the Ford Theatres—will be at Royce Hall for one night only. The trio Slow Moving Clouds will perform their score onstage.

LOCH NA HEALA (SWAN LAKE)

Saturday, November 9, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

Michael Keegan-Dolan / Teaċ Daṁsa, Loch na hEala (Swan Lake), November 9, 2019, Royce Hall, UCLA, from top: Rachel Poirier (left) and Alex Leonhartsberger (foreground); Michael Murfi, (left) Leonhartsberger (sitting), Erik Nevin, Zen Jefferson and Keir Patrick; Leonhartsberger (left), Patrick, Murfi, Nevin, Jefferson, and Dr. Elizabeth Cameron Dalman; Murfi, Nevin, Dalman, and Patrick; Poirier, Latisha Sparks, Carys Staton, and Anna Kaszuba. Photographs by Reed Hutchinson, images courtesy and © the photographer, the choreographer, the artists, and CAP UCLA.