The Kitchen

Post image for A Splintered and Sung Exploration of Black Women’s Identities

The title of writer-dancer-artist-choreographer Ralph Lemon’s new production, Scaffold Room, describes equally well the contraption on and around which it’s staged and the way the piece is structured.

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Post image for A Dance About Capitalism Falls Prey to Its Machinations

Early in koosil-ja’s new show I Am Capitalism, which ran at The Kitchen last week, she spoke through recorded voice-overs of a desire to acquire dances.

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Post image for Bar Exam: Richard Maxwell’s ‘The Evening’

The signature style of Richard Maxwell — a playwright and director who has received awards and fellowships from practically every major theater foundation, and whose rehearsals were presented as a work of art in the 2012 Whitney Biennial — works well in his latest piece, The Evening.

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Post image for A Live Documentary Measures Humanity by Its Extremes

In his newest live documentary, The Measure of All Things, filmmaker Sam Green ponders why we’re obsessed with the extremes of accomplishment, no matter how obscure or mundane they actually are.

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An Abolitionist’s Work, in Present Tense

by Tara Sheena on October 28, 2014

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John Brown is so much more than historical matter or biographical trope in Moss’s world; he is an ideological framework, able to produce a compelling, albeit densely layered, performance work.

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A Concussive Experiment in Metal Noise

by Allison Meier on October 1, 2014

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Jamie Stewart, of the band Xiu Xiu, describes how he and artist Danh Vō started to collaborate as “amorphous,” with Vō having incorporated some of Stewart’s lyrics from “Fabulous Muscles” into his visual art.

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Post image for Broadcast Muse: Liz Magic Laser’s Bystander

The script for “Bystander,” Liz Magic Laser’s performance at The Kitchen, consists principally of two types of statements about current events — the personal and the reportorial.

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Dissecting Contemporary Dance

by Jeremy M. Barker on November 8, 2013

Post image for Dissecting Contemporary Dance

Even for those well-versed in contemporary dance, Maria Hassabi’s work can sometimes test the very applicability of the term. Sure, postmodernism has expanded dance’s vocabulary to include all sorts of things well outside the limitations of formal technique, from pedestrian movement to text and so on, but at some level, most people still expect to see performers actually move around on stage at a dance piece.

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Post image for The Dancehall Meets the Sound Installation for Some “Hard Love”

What happens when you immerse the vocals of a dancehall queen who thrives on pulsing beats in the droning of an art sound machine? That was the experiment set up between Jamaican dub vocalist Warrior Queen and New York artist Marina Rosenfeld in P.A./Hard Love, which had its premiere last weekend at the Kitchen in Chelsea.

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Post image for Making Documentaries More Real

In an email, a friend of mine mentioned a show taking place at the Kitchen next week: The Love Song of R. Buckminster Fuller, created by the filmmaker Sam Green, with live music by indie rockers Yo La Tengo. The subject matter seemed like solid geeky/arty fare, but what stood out to me in the event description was the phrase “live documentary,” in quotes. Given the subject matter and the indie music, the first thing to come to mind when guessing what that might mean were the live, touring shows created in the past couple of years by the public radio programs RadioLab and This American Life. Then again, it was being presented at the Kitchen, a venue that has a history of presenting fairly aggressive work spanning visual, performance, and literary arts.

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