The moment it becomes legible, it becomes something else.
To what degree must our celebrities look, sound, and live lives enough like ours in order for us to fetishize becoming them?
These works imagined utopias that challenge our assumptions about the limits of what we accept as reality.
This place where language is familiar because of airports and tampon boxes and online preachers and being cat-called and the slow drip of consumer rhetoric.
Aesthetically, Tiny Hornets lives in the neighborhood of a surrealist depiction of an early twentieth-century carnival—somewhere in between a sober version of Burning Man and Bob Dylan’s Rolling Thunder Revue.
Maura interviews Dorothée Munyaneza. Her “Unwanted” has its New York premiere at Baryshnikov Arts Center TONIGHT (September 21-22). Her “Samedi Détente” at Under the Radar Festival in early 2016 ripped open the wounds of the genocide in Rwanda. With “Unwanted,” she explores the physical and mental repercussions of rape used as an instrument of war.
A response to The Krumple’s ‘YOKAI: Remedy for Despair’ via the questioning of how one responds to art and how dependent that response is on form and location.
Performance as reparation, as reconfiguration, as a way to bounce back and forge ahead.
She mourns and then she is fully present, looking right through you, dancing with abandon.
This is that Marco Polo shit, I realized. This city, we’ve inherited it. We’re in it. And I didn’t think anybody else besides Sam would care with the fervor that I did.
Cumbe: Center for African and Diaspora Dance (Cumbe) returns to Brooklyn with a new home at RestorationART. Maura interviews Jimena Martinez, Cumbe’s Executive Director.
The Resuscitation of Rhapsody; or, Can Anybody Make Art Anymore Without Someone Comparing it to Game of Thrones?
The severed head of Homer has been degraded, discarded in wintry sidewalk snow mounds and forgotten inside the walk-in refrigerator of some swank restaurant before being hung on a meat hook above the bath tub.