This idea of American desire and what’s encapsulated in that is this reckoning, but, also holding the truths of being white in American culture means you have to hold the history of being an oppressor. But, then, how do you hold that?
My collaborators on Pillowtalk have pushed me to envision a different time and place: a beautifully queer place that simultaneously grounds us in the deeply dangerous reality of American culture and propels us forward to claim the spaces for an equitable future governed by radical love.
“It started as a piece with very pared down visual corollary, but I soon realized that was beside the point. It was a much more interesting piece to use language to describe a thing and entirely remove the visual corollary.”
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.
Five Questions: Sam Schanwald with Hannah Wasileski, the projections designer from SLEEP
slowdanger is a performance duo from Pittsburgh. They are Anna Thompson and Taylor Knight, who speak their minds both alone and together. We talk about the queerness of being a multidisciplinary artist and the influence of technology on dance work, among much more. Their collaboration
Maura and Eugene de Poogene yelled over really loud music with Croatian curator and producer Zvonimir Dobrovic about his “Perforations Festival” – opening Friday.
We’ve written a very hopeful apocalypse.
“Tell us why a shorter version of this feels like a sketch, and a longer version feels like a play.”
The impacts of grief, however miniscule or massive, are the focus of “Submerge 2017: Break Time”, a festival curated primarily by Ali Rosa-Salas. Interested in the ways in which “we” are “permitted” to grieve in public space and, as the curatorial statement offers, a concern on the “expectation to bounce back,” Rosa-Salas has assembled an enriching near week of events, ranging from breath work to brunch to bike rides, in recognition of the ways the personal is political; the ways we are alone with others; and the ways in which everything, art or otherwise, is necessarily interdependent.
“I’m Fundamentally Interested in a Gentle Theater” – a conversation with Corinne Donly and Sarah Hughes
I got the impression that Corinne and Sarah were working out their ideas in front of me, rather than regurgitating concepts already known. In other words, the play was becoming before my eyes.
Shaun Irons and Lauren Petty discuss “Why Why Always,” a cine-performance