A response to “Farmhouse/Whorehouse: An Artist Lecture by Suzanne Bocanegra starring Lili Taylor” at the 2017 BAM Next Wave Festival
It’s difficult to write about the show you love.
I would have this piece on an endless loop that I might wander through like a cherry blossom viewing “hanami” stroll, or soak in like a yuzu-scented hinoki bath in the woods. Joanna Kotze and Mina Nishimura share thoughts from inside their fractal realm.
Solo storytellers must boldly jump off their high dives and fall into their public swimming pools.
The skilled player navigates the constraints of the game with the cards they are dealt—in the same way that we all navigate our privileges and oppression in daily life.
The failure Burke examines comes from (intentional) overuse, dereliction, or poor design, not the result of freewheeling adventure or calculated risk-taking.
I left ‘Sleep’ as if I was waking from a dream—confident that what I had just experienced was meaningful, but entirely unclear as to why.
Sobelle’s work relies heavily on what one might describe as “sleight-of-staging,” which I’ll posit here is a cross between what a magician does with objects (cards and the like) and what a director does with design and blocking.
Between Walled Rooms is a series of freeform responses to live performance works by female identifying and gender nonconforming choreographers, initiated by Tara Sheena. This work is a response to Hadar Ahuvia’s “Everything you have is yours?”.
Five Questions: Sam Schanwald with Hannah Wasileski, the projections designer from SLEEP
The critic or artist who wants to be trusted must be willing to be vulnerable and flawed; she must be willing to be wrong. She must be willing to risk. And it is no less terrifying for the critic to reveal herself than the dancer, choreographer, actor, artist, or musician.