In the final phase of Performa 15, which ended on November 22, a couple of performances turned profitably to music, creating synergies with standardized hand gestures in one case and the dynamics of theater lighting in the other.
Audiences entering the black box space of BAM Fisher in Brooklyn for More up a Tree found a transparent room containing a man sprawled on his back, and a woman nervously pacing.
Performa 15, the New York performance biennial, in this edition looks to the Renaissance as its “historical research anchor,” as the festival’s promotional materials put it, though in practice, the historical tie is often so vague as to be meaningless.
There is no perfect word or glossary to describe where Laura Lima takes art.
Poetry readings aren’t popular, or easy.