Yara Travieso’s staging of La Medea at the Coil festival was several shows at once — the performers themselves, live video, and other audience members, who were at times invited to join in the dance.
Two of this year’s performance offerings, perhaps inadvertently, highlighted the sometimes awkward and asocial embrace of technology.
The same day that Latifa Laâbissi donned a faux-Sioux headdress at MoMA PS1, Emily Johnson created a collaborative event that championed indigenous voices and values
“Hey! Hey! Hey! Hey!” chants the beaming cast of Faye Driscoll’s Thank You for Coming: Attendance as if greeting party guests.
Andrew Dinwiddie, Caleb Hammons, and Jeff Larson are the curators of CATCH, a New York–based monthly performance series that features some of the most exciting artists working in theater, dance, performance art, and everything in between.
Two shows at COIL this year use new media technology to manipulate existing materials to stage a “what if” event. But, despite their appearances, both performances end up with very human stories and rather conventional forms of theater.
Instead of writing a review or a recap of the shows I’ve seen or a critical essay about the tone of the APAP festivals in New York this year, I’m going to describe my night on Tuesday evening and some of what was going through my head during those hours. Because somehow, I think it might do a better job of capturing some the dynamics of this year’s festivals than analysis or plain description. I’m probably going to go on a bit too long and try to cover too much ground, but I am leading to a point, or two. So, you know. Do what you need to do. Take it with a grain of salt. Whatever.
Over the weekend, acclaimed and provocative Lebanese artist Rabih Mroué launched his first North American tour, giving the United States premiere of Looking for a Missing Employee as part of Performance Space 122’s annual COIL festival.
Welcome to 2012! As soon as the clock struck midnight, not only did the new year begin, but the art world also got a shot of adrenaline as January brings in more exhibition openings than we can keep track of.