Miwa Matreyek returned this week from a 12-day tour in New England, with This World Made Itself, her most recent solo performance that previewed at the 2013 LAX Festival and premiered at the Wexner Center for the Arts. Stops included the Redfern Arts Center, Silvermine Art Center, the Flynn Center for the Arts, and the Institute for Contemporary Art/Boston.
The tour was funded in part by the Expeditions program of the New England Foundation for the Arts, made possible with funding from the National Endowment for the Arts, with additional support from the six New England state arts agencies.
Check out this warm review from the Flynn Center’s blog and Lindsay Rae of the Burlington Writers Workshop //FLYNN CENTER BLOG // SLIGHT OF HAND
Tickets are now on sale for the world premiere of Cloud Eye Control’s latest multimedia performance, HALF LIFE, to perform at REDCAT January 15-18, 2015!
A lamentation of fierce urgency, the latest multimedia production from Cloud Eye Control is an imagistic, visceral work inspired by the nervous fear felt in the wake the 2011 Fukushima Daiichi nuclear disaster. Half Life explores the psychological fallout of global disaster, and how it affects our emotions and imaginations. The Los Angeles-based collaborators— Miwa Matreyek, Anna Oxygen, and Chi-wang Yang —bring their signature mix of projected animation, live performance and music to summon the unseeable forces that govern our collective sense of personal safety and control.
Tickets range from $10 to $25, and can be purchased through REDCAT.
Conceived/Directed by Janie Geiser, and developed with an ensemble of Los Angeles performers and designers, FUGITIVE TIME is a multidisciplinary performance inspired by the dual histories of illness and health in early 20th Century Los Angeles. FUGITIVE TIME centers on the life of a fictitious 1930’s tuberculosis patient, who travels to Los Angeles to seek the prevailing cure: fresh air and sunshine in a hilltop sanitorium. Fugitive Time merges puppetry, miniature landscapes, film, live-feed video, and music/sound to create an immersive, elliptical meditation on the body, illness, nature, and time.
“It’s not the often spectacular merging of disparate elements that explains the power of Geiser’s work, and it’s not the searing pathos of the stories she chooses to tell. Instead, Geiser leverages all these different elements into a new arrangement, and what she achieves is a new form of collective thinking, feeling and experience, one that mixes layers of reality and consciousness in a way that seems perfectly suited to our current moment.”
—Holly Willis, ARTBOUND
Remaining DATES AND TIMES:
Friday October 3 at 8 PM
Saturday October 4 at 4 PM and 8 PM
Sunday October 5 at 3 PM
$20 General Admission
$17 Members, Students, Seniors
SEATING IS LIMITED; ADVANCE RESERVATIONS STRONGLY SUGGESTED
CLICK HERE FOR TICKETS
All performances in Chinatown at:
504 Chung King CourtLos Angeles, CA 90012
FUGITIVE TIME is a co-commission of The Museum of Contemporary Art Santa Barbara and First Works (Providence, RI), with additional funding from The Center for Cultural Innovation. Special thanks to Cinelease, Miguel Sanchez, and to everyone who has donated through our Hatchfund campaign.
Read Holly Willis on Fugitive Time and Janie Geiser’s work in KCET’s Artbound:
EXPERIMENTAL NARRATIVES: JANIE GEISER’S EVOCATIVE PUPPETRY
For more information about Janie Geiser: www.janiegeiser.com
I have been honored to be part of Early Morning Opera’s ABACUS since it’s 2012 premiere at the Sundance Film Festival. This week, our team embarked on the New York premiere of the work at one of the most prestigious venues in the country: the Brooklyn Academy of Music.
BAM published the following interview between Paul Abacus and enigmatic artist Banksy on the BAM blog:
Paul Abacus is a Japan-based international presenter of ideas, and has become well known for his perspective on the workings of contemporary persuasion, particularly the presentation format itself. A disciple of polymath Buckminster Fuller, Abacus is a leader of the movement to dissolve national borders. His live presentation ABACUS was last seen at the 2012 Sundance Film Festival and will be at BAM from September 24—27.
We asked Abacus to sit down with us for an interview. He sent us this instead.
At the request of the artists, the following interview was conducted in a double kayak circling Governor’s Island, and has been edited to fit your screen.
BANKSY: Paul, I haven’t seen you in person since Sundance. You look about five years older, but that’s good. Now you probably look your age.
ABACUS: You look like hell too.
BANKSY: Thank you. I just want to make sure we lay out the scene for folks. It’s a beautiful day in late summer in New York and we’re in a double kayak in spitting distance of the Statue of Liberty. I am in front, because Paul is better at steering. We are accompanied by Paul’s standard entourage of videographers, but the giant panda Dr. Bang—my favorite of your friends—is not here? Why not?
ABACUS: He can’t swim.
B: That’s a shame. So we are surrounded by your friends riding in an armada of bright orange canoes stenciled with panda heads, which are very fine stencils if I do say so myself.
A: And you’re wearing linen overalls, which I wouldn’t have expected.
B: Let’s get right down to it: what’s your real name?
A: Paul Abacus. What’s yours?
B: Banksy. Great, now that we’ve settled that, let’s continue. Why did you disappear after the 2012 Sundance Film Festival? It seemed like you were on a roll.
READ THE FULL ARTICLE HERE.