Twelfth Edition of PS122's Coil Features Dance, Theater, Virtual Reality and More
By: A.A. Cristi Nov. 29, 2016
Performance Space 122's annual performance festival, Coil, returns for its twelfth edition with 13 individual events. The festival explores the constant vitality of live performance in New York City through contemporary artists from diverse genres, cultures and perspectives. Featuring work created locally, across the U.S., and around the world, Coil is known for its groundbreaking contemporary performance across interdisciplinary art, working with new technologies and forms. Through installations, live and virtual practices, PS122 is committed to redefining how, where, and when performance is experienced.
Performance Space 122 Artistic Director Vallejo Gantner commented: "We don't present objects, static fixed ideas. These are living, breathing, complicated, flawed and wonderful experiences. Profound and unpredictable. Difficult. There's a rightful push for the work that we do to better reflect the society of ideas and people from which we spring. Sometimes we get this right, and sometimes we also push back when we're told to make the work do something predictable, something certain. The work that PS122 presents' potency comes from the fact that it should give you back the power to create its impact. I am very proud that in my final year of Coil, PS122 again shows off its interdisciplinary chops - from the entirely constructed world of VR through a theater created purely of object, light and sound to visceral, confronting and raw movement." Book your tickets early: The Coil Pass (8 tickets for $122) will go on sale October 25 and may be purchased online at www.ps122.org/coil or via phone at 212-352-3101.Piece for Person and Ghetto Blaster (Jan 11-14) is Australian Nicola Gunn's story of a man, a woman, a duck and a moral dilemma in a disarming performance of text, rhythmic soundscape and intense physical choreography.
Daniel Fish's new, Untitled (Jan 12-22) work offers us a radical departure from his previous text-driven work and seeks to find out what happens when the actors and text are gone and the talking stops.
Yara Travieso's La Medea (Jan 20-22) is an interdisciplinary musical re-imagining of Euripides' violent tragedy into a dance-theater performance and feature film á la Latin-disco-pop variety show, complete with a live in-studio audience participating as the Greek chorus. Visceral Dance and Performance Production Australian choreographers Anthony Hamilton and Alisdair Macindoe present the US Premiere of MEETING (Jan 4-8), a rich encounter between man, machine, motion and sound as two performers share space with 64 robotic instruments.Custodians of Beauty (Jan 5-8) by Bessie award-winning choreographer Pavel Zuštiak / Palissimo examines beauty and its intrinsic relationship with art through minimalist movement, sensuous abstraction and potent stage imagery. Engulfing one another with fully embodied presence, choreographers and performers Molly Lieber and Eleanor Smith move backward and forward through time and space in a dreamlike reimagining of personal histories in the world premiere of Basketball (Jan 7-10).A Study on Effort (Jan 12-14) is a collaboration between the incomparable dancer Bobbi Jene Smith and acclaimed violinist Keir GoGwilt, consisting of 10 tasks that question physical, emotional and metaphoric effort through a lens celebrating the connections between sound, body and duration. Additional EventsEmily Johnson / Catalyst present the discussion series, Umyuangvigkaq: PS122 Long Table and Durational Sewing Bee (Jan 8) as part of a large-scale experiment in public engagement and sewing culminating in an all-night, outdoor performance event in 2017, Then a Cunning Voice and A Night We Spend Gazing at Stars. Red + White Party 2017 at Ace Hotel (Jan 8) in celebration of the January chaos that is NYC festival season, featuring work from visual artists Kristin McIver and Ian Strange with DJ Cam-Run (Bionic Boogie) to keep you dancing all night long. Brooklyn-based, hydra-headed, trans-disciplinary, rough-and-ready series of performance events, CATCH takes PS122's Coil Festival with their diamond jubilee, CATCH 75, a night of performance mayhem by the most exciting artists NYC has to offer (Jan 15). Press Contact: John Wyszniewski at Blake Zidell & Associates: 718.643.9052, john@blakezidell.comPERFORMANCE SPACE 122'S COIL 2017 FESTIVAL
CVRTAIN
Yehuda Duenyas (NYC/LA)
Virtual Reality | World Premiere
Commissioned by Performance Space 122
Presented by Performance Space 122 in partnership with Wallplay
Gallery 151, 132 West 18th Street in Manhattan
Jan 3 from 5-7pm; Jan 4-7 and 10-15 from 12-6pm
5 - 10 minute interactive experience
$10
AnTony Hamilton and Alisdair Macindoe (Australia)
Dance | US Premiere
Co-presented with La MaMa La MaMa, Ellen Stewart Theatre, 66 East 4th Street in Manhattan
Jan 4 & 6 at 9pm, Jan 7 at 1pm and 4pm, Jan 8 at 5pm
50 minutes
$20
"MEETING is a quietly rich encounter between man, machine, motion and sound that rewards your attention with mesmeric human feats and meditative sonic patterns." - Ian Abbott, Writing about Dance
Two performers share space with 64 robotic instruments. A relentless stream of activity unfolds, where the bodies enter states of heightened physical and mental agency, with all actions carried by the meditative pulse of the machine beat. MEETING reveals a fascination with the articulation of the body and mind in motion. A choreographic study stripped to the bare essentials, the work pairs Hamilton's compulsive choreography and unique physical grammar with Macindoe's obsessive machine-making practice. MEETING composes the body, space and robots into a riveting choreographic soundscape flooding your eyes and ears with technical mastery at its finest.
AnTony Hamilton is an independent choreographer. His award winning creations involve a sophisticated melding of movement, sound and visual design. His major works include the seminal Black Project 1 (2012), for which he won the prestigious Helpmann Award, critically acclaimed MEETING (2015) and NYX, a commission for the 2015 Melbourne Festival. He has created numerous national and international commissions including for The Lyon Opera Ballet (Black Project 3) and most recently for Skanes Dansteater (Sentinel). Antony was the inaugural recipient of the Russell Page Fellowship in 2004, Tanja Liedtke Fellowship in 2009, Australia Council for the Arts Fellowship in 2012, and Sidney Myer Creative Fellowship in 2014. He was guest dance curator at The National Gallery of Victoria in 2013-14, honorary Resident Director at Lucy Guerin Inc. in 2014 and inaugural Resident Artist at Arts House in 2015. He is currently a resident artist with Canada's Dancemakers. In 2008 Antony formed AnTony Hamilton Projects to create contemporary dance work informed by an interest in multi-disciplinary practices. Combining experimental movement, visual, sound and video art, his original and unpredictable choreographic voice is a driving catalyst for bold experimentation. www.antonyhamiltonprojects.com
Alisdair Macindoe is a New York based Australian dancer, choreographer and sound artist who trained in dance at the Victorian College of the Arts. He has performed with Lucy Guerin Inc, Chunky Move, AnTony Hamilton Projects, Stephanie Lake Company, and Leigh Warren and Dancers. Other performance highlights include his own works, Bromance (2010), 525600LOVE (2009), and Pay No Attention to the Man Behind the Curtain (2008). Alisdair was the recipient of the 2013 Helpmann award for best male dancer in a dance or physical theater work for Stephanie Lake's DUAL, the recipient of the 2012 Green Room's best male dancer award for his year's work, and was nominated for the 2008 and 2013 Green Room award for best male dancer. Alisdair is a self-taught Sound Designer, composer, and instrument builder and has created sound design for some of Australia's leading dance companies and choreographers. He has won 3 consecutive Green Room Awards for Dance Composition for Black Project 2 (AnTony Hamilton, 2014), Princess (Benjamin Hancock, 2015) and MEETING (AnTony Hamilton, 2016).
Real Magic
Forced Entertainment (UK)
Theater | US Premiere
Commissioned by Performance Space 122
Co-presented with La MaMa
La MaMa, Ellen Stewart Theatre, 66 East 4th Street in Manhattan
Jan 5 at 6pm, Jan 6 at 3pm, Jan 7 at 9pm, Jan 8 at 12pm
80 minutes
$20
"Beckett meets trash TV" - Sascha Westphal, Nachtkritik (DE)
Caught in a world of second-chances and second-guesses, variations and changes, distortions and transformations, Real Magic takes you on a hallucinatory journey, creating a compelling performance about optimism, individual agency and the desire for change. In Real Magic, Forced Entertainment create a world of absurd disconnection, struggle and comical repetition. To the sound of looped applause and canned laughter, a group of performers take part in an impossible illusion - part mind-reading feat, part cabaret act, part chaotic game show - in which they are endlessly replaying the moment of defeat and the moment of hope. Forced Entertainment are a group of 6 artists who have been making performance since 1984 - questioning, pushing and breaking theatre to see what can be built from the wreckage. Based in Sheffield, UK, their work has been seen all over the world and was recently honored with the 2016 International Ibsen Award. Known for being a fearless innovator of theatrical form, Artistic Director Tim Etchells is the current recipient of the Spalding Gray Award from the commissioning consortium of the Andy Warhol Museum in Pittsburgh; Performance Space 122 in New York; On the Boards in Seattle; and the Walker Art Center in Minneapolis.Custodians of Beauty
Pavel Zuštiak / Palissimo (NYC)
Dance, Performance
Co-presented with La MaMa
La MaMa, The Downstairs, 66 East 4th Street in Manhattan
Jan 5 at 8pm, Jan 6 at 5pm, Jan 7 at 5:30pm, Jan 8 at 2pm
85 minutes
$20
"Plunges headlong into questions about what is 'beautiful' by interrogating sources like Plato, Pope Benedict XVI, and of course, the dancing body." - Time Out New York
For decades in the humanities, various arguments have been put forward against beauty. Where do we find beauty today and does it need our defense? Bessie Award-winning choreographer/director Pavel Zuštiak and his Palissimo Company examine beauty and its intrinsic relationship with art through minimalist movement, sensuous abstraction and potent stage imagery. Drawn from a dark Eastern European dance-theater aesthetic, this richly postmodern dance/live music event casts the human body as a sculptural form, an emotional trigger, or a political symbol. In an age when humanity, disenchanted with itself, seems to have rejected the necessity of beauty, Custodians of Beauty asks us to look again, beyond the surface, to see differently.
Pavel Zuštiak is a NYC-based director, choreographer and performer, born in the communist Czechoslovakia and trained at the School for New Dance Development in Amsterdam. His works for stage and public spaces merge the abstract aspects of dance with nonlinear qualities of "theatre of images" into multidisciplinary pieces rich in evocative imagery and piercing emotional resonance. Zuštiak is the 2015 Bessie Juried Award winner for his "poetic layering of movement and visual imagery, conceiving the stage space as a decentralized world in which the corporeal body is the focus and canvas for a wide range of human expression," a 2015-17 Princeton Arts Fellow, the recipient of 2013 LMCC President's Award for Excellence in Artistic Practice and 2012 NEFA/NDP Production and ResidenCy Grants, 2010 Guggenheim Fellow and 2014, 2009, and 2007 Princess Grace Awards Winner. His 5-hour trilogy The Painted Bird received a 2013 Bessie Award nomination for Outstanding Production.
Worktable
Kate McIntosh / SPIN (Belgium)
Live Installation | US Premiere
Co-presented with The Invisible Dog Art Center
The Invisible Dog Art Center, 51 Bergen Street in Brooklyn
Jan 5 - 7 & 9 from 12-8pm, Jan 8 from 11-7pm
Live Installation
45-60 minutes
$20
Molly Lieber and Eleanor Smith (NYC)
Dance | World Premiere
Commissioned by Performance Space 122
Co-presented with Baryshnikov Arts Center
Baryshnikov Arts Center, Howard Gilman Performance Space, 450 West 37th Street in Manhattan
Jan 7 & 8 at 7pm, Jan 8 & 9 at 4pm, Jan 10 at 7pm
60 minutes
$20
"These women are tied together. One would carry the other across a desert, it seems, if they didn't kill each other first." - Brian Seibert, The New York Times
Basketball reinvents past shames as colorful, sculptural and textural expressions. Engulfing one another with fully embodied presence, Lieber and Smith move backward and forward through time and space in a dreamlike reimagining of personal histories. Improvisation acts as an empowerment of physicality and emotionality, viscerally felt as you observe the intimate, raw nature of their bodies in space.
Molly Lieber and Eleanor Smith have been making experimental dances together in New York since 2006. Their work is unique in that it is an equal collaboration between the two choreographers, always within the duet form, always performed by Molly and Eleanor. Their most recent work Rude World, was their third project together over the past three years and premiered through PS122 and The Chocolate Factory Theater in PS122's Coil 2015 Festival. Their work is recognized by the tension of a powerful yet submerged inner world, cultivated through a brave and continuous study of duet improvisation. Recent works include Tulip (Roulette, 2013, Judson Now at Danspace Project, 2012), and Beautiful Bone (The Chocolate Factory Theater, 2012). They were a 2015 Rosas Summer Studios Residency Artist, were among the inaugural season of PS122's 2014/2015 Ramp Residency artists, a 2014 Baryshnikov Arts Center (BAC) Artist in Residence, were nominated for a 2013 New York Dance and Performance (Bessie) Award for Emerging Choreographer, and received the 2013 NYFA Fellow Finalist Award. Molly and Eleanor had the pleasure of being Guest Artists in Residence at Connecticut College in September 2015.
Blind Cinema
Britt Hatzius (UK / Belgium)
Film, Performance | NY Premiere
Co-presented with SVA Theatre
In partnership with East Village Community School
SVA Theatre, 333 West 23rd Street in Manhattan
Jan 9-12 at 5:30pm
40 minutes
$20
"Through a simple exercise and allowing children to really try, to fail, and star, Blind Cinema is a sensitive and gentle connection with a developing mind." - Hannah Sullivan, Total Theatre (UK)
In the darkness of a cinema space, you sit blindfolded. A child seated behind describes, in hushed and fragile tones, a film that only they will see and only this once. Based on the method of audio description, Blind Cinema is an experience where the act of watching a film becomes a shared investment: a collaborative and imaginative act between seeing children and blindfolded adults. Focusing on that which lies beyond the sense of sight, your attention flickers between the internal world of the mind's eye shaped by a whispering voice and the physical space of a darkened cinema shared by many. Through Blind Cinema, Britt Hatzius examines ideas around language and interpretation along with the potential for discrepancies, ruptures and (mis)communication.
Britt Hatzius (UK/BE) works in film, video, sound and performance, exploring ideas around language, interpretation and the potential for discrepancies, ruptures and (mis)communication. Her work has been shown internationally at performance and media arts festivals, institutions and galleries. Recent collaborations include cinematic installation Micro Events (2012) with Tom Kok, interactive performance This Is Not My Voice Speaking (2013) with Ant Hampton and site-specific installation As Never Before, As Never Again (2014) with Ant Hampton.
Piece for Person and Ghetto Blaster
Nicola Gunn (Australia)
Theater, Dance | US Premiere
Co-presented with La MaMa
La MaMa, Ellen Stewart Theatre, 66 East 4th Street in Manhattan
Jan 11 & 12 at 8:30pm, Jan 13 at 7:30pm, Jan 14 at 5pm
70 minutes
$20
"Gunn's text is intricate and often brilliant, full of unpredictable digressions and curious factoids. It's the verbal equivalent of skimming stones over water." - Cameron Woodhead, The Age (AU)
Piece for Person and Ghetto Blaster is the story of a man, a woman and a duck. The work is disarmingly simple - exploring in depth the moral conundrum of what one should do if one comes across a person throwing rocks at a sitting duck - but gradually becomes mind-bendingly complex. Accompanying the text is a rhythmic electronic soundscape and intense physical choreography shifting from the unnecessary and incongruous to the comic and strangely affecting. Gunn brings into question your own intervention ethics with a confrontational muse on peace and conflict, moral relativism, and the very function of art.
Nicola Gunn is a Melbourne-based performer, writer, director and dramaturge. Since 2002, she has been making works that blend performance, art and anthropology to explore the fragility of the human condition with subversive humor. Her artistic practice is committed to institutional critique, social engagement and generating works that activate the public sphere by questioning old ways of being or proposing new ones. She uses performance to reflect critically on its place in theatres, to examine power relations in existing organizations and to consider the relevance and social function of art itself. The starting process is often a written text or idea imagined responding to a self-generated impulse to tell a story or explore a form. She draws mainly from her experience to create autobiographical fiction. Nicola's work has been presented widely in Australia and has toured to Canada, Ireland, the Netherlands, New Zealand and the United States.
Untitled
Daniel Fish (NYC)
Time Based-Art (Not open to reviews)
Co-presented with The Chocolate Factory Theater
The Chocolate Factory Theater, 5-49 49th Avenue in Long Island City, Queens
Jan 12 - 21 at 2pm
60 minutes
$20
Daniel Fish's new, untitled work offers us a radical departure from his previous text-driven work and seeks to find out what happens when the actors and text are gone and the talking stops.
Made for a very small audience and partially inspired by the films of Chantal Akerman, Fish ruminates on the passage of time and our perception of it. Set and light drive the undrive-able and Philip White's score subverts expectations of aural perception.Daniel Fish is a New York-based director who makes work across the boundaries of theater, film, and opera. He draws on a broad range of forms and subject matter including plays, film scripts, contemporary fiction, military logs, essays and found audio. His recent work includes WHO LEFT THIS FORK HERE (2015), OKLAHOMA (2015), TEd Hearne's THE SOURCE (2014) and ETERNAL (2013). His work has been seen at theaters and festivals throughout the U.S. and Europe including The Walker Arts Center, PuSH, Teatro Nacional D. Maria, Lisbon/Estoril Film Festival, Vooruit, Festival TransAmériques, BAM Next Wave Festival, Noorderzon Festival, The Chocolate Factory, The Public Theater's Under The Radar, Opera Philadelphia/Curtis Opera Theater, American Repertory Theater, Richard B. Fisher Center at Bard College, Yale Repertory Theater, McCarter Theater, Signature Theater, The Shakespeare Theater Company, Düsseldorfer Schauspielhaus, Staatstheater Braunschweig and The Royal Shakespeare Company. Residencies and commissions include The MacDowell Colony, Baryshnikov Arts Center, Mass MOCA, The Chocolate Factory, The Bushwick Starr, LMCC/ Governor's Island. He has taught at The Juilliard School, Bard College, Princeton University and NYU/Tisch Department of Design for Stage and Film. He is graduate of Northwestern University's Department of Performance Studies.
A Study on Effort
Bobbi Jene Smith in collaboration with Keir GoGwilt (NYC)
Dance | US Premiere
Presented by ArKtype / Thomas O Kriegsmann The Invisible Dog Art Center
in partnership with Performance Space 122
Jan 12 & 14 at 7pm, Jan 13 at 9pm, Jan 14 at 3pm
60 minutes
$20The effort of lifting. The effort of a pledge. The effort of not knowing. A Study on Effort is a collaboration between the incomparable dancer Bobbi Jene Smith and acclaimed violinist Keir GoGwilt, consisting of 10 tasks that question physical, emotional and metaphoric effort through a lens celebrating the connections between sound, body and duration.Iowa-born Smith spent a decade as featured performer of Batsheva Dance Company (Tel Aviv). Her premiere solo project explores how we receive pleasure from effort, decoupling it from burden, mining it for meaning. Through movement and sound, Smith and GoGwilt uncover the dynamics of effort from passive to extreme and its pervasiveness, exploring its connection to our most basic desires. Bobbi Jene Smith was born in Centerville, Iowa and was she was a member of the Batsheva Dance Company under the artistic direction of Ohad Naharin from 2005-2014. She is an alumnus of the Juilliard School, North Carolina School of the Arts, and the Royal Winnipeg Ballet School. Her choreography and solo work has been presented by The Batsheva Dance Company, The Israel Museum, Luminato Festival, The Wild Project, Machol Shalem, Sacramento Ballet, The CCA, The San Francisco Conservatory of Dance, NYU, and The Juilliard School. Bobbi is the subject of the documentary directed by Elvira Lind which will premiere in 2017. Her film and video work include, "Annihilation" directed by Alex Garland, "MA" directed by Celia Rowlson-Hall, and "Yossi" directed by Eytan Fox. Bobbi is a certified GAGA teacher and has taught Ohad Naharin's repertory in schools and universities around the world. Keir GoGwilt, Violinist, was born in Edinburgh, Scotland, he has performed as a soloist with the Chinese National Symphony, the Orquesta Filarmonica de Santiago, the Bowdoin International Music Festival Orchestra, the Manhattan School of Music Chamber Sinfonia, members of A Far Cry, and has stepped in to workshop a new violin concerto by Anna Clyne with the Chicago Civic Orchestra. As a recitalist and chamber musician he has played at festivals including the Luminato Festival, the Spoleto Festival in Italy, Rockport Chamber Music, Yellow Barn, and Taos. He is also active as a poet, scholar, and improviser.
GoGwilt has worked closely with a number of composers including Roger Reynolds, Tan Dun, Tobias Picker, and Matthew Aucoin. Graduating from Harvard University with high honors in 2013, GoGwilt was awarded the Louis Sudler Prize in the Arts.
CATCH 75: Coil'd Again (NYC)
Dance, Theater, Performance | One Night Only!
Location and Artist line-up to be announced at a later date
Jan 15 at 7pm
$20
"A crash course in what performance looks like today." - Claudia La Rocco, ARTFORUM
CATCH is "everyone's favorite" Brooklyn-based, hydra-headed, trans-disciplinary, rough-and-ready series of performance events. Pouring equal portions of community, love, CATCH takes PS122's Coil Festival with their diamond jubilee, CATCH 75, a night of performance mayhem by the most exciting artists NYC has to offer.
CATCH is curated with reckless delicacy by Jeff Larson, Andrew Dinwiddie and Caleb Hammons, and was awarded a prestigious Obie Award in 2015 for its contribution to the performing arts community in New York City. Conceived in a Williamsburg bar in 2003, CATCH has given stage to some of the most exciting emerging artists and avant luminaries, spreading our serious-art-in-a-serious-party vibe all over Brooklyn, Queens, Manhattan and, recently, in cities across the U.S.
La Medea
Yara Travieso (NYC)
Interdisciplinary | World Premiere
Commissioned by Performance Space 122
Co-presented with BRIC and Dance Films Association
BRIC House, 647 Fulton Street, Brooklyn
Jan 20 at 7pm, Jan 21 at 7pm, Jan 22 at 2pm and 7pm
60 minutes
$20
"[Yara Travieso's] intrinsic pursuit of storytelling manifests as stage performance, installation and video; it's culturally inspired, and an amalgam of genre and influence - she puts the MULTI in multi-disciplinary, multi-media art." - Kaitlyn Parks, 1985 Artists
La Medea is a musical re-imagining of Euripides' violent tragedy into a dance-theater performance and feature film á la Latin-disco-pop variety show. Directed, performed, filmed, edited and streamed in real time, the dark comedy comes to life not only as a live performance in Brooklyn but also as a feature film for audiences watching and interacting remotely around the world. Everyone becomes a performer, subject to the high-stakes immediacy and vulnerability of live TV, bringing theater to cinema and cinema to theater.
La Medea centers around the story's protagonist in a live TV special tell-all. A wild mash-up of genres and storytelling tropes, Travieso seamlessly shifts between dance and music, talk show and telenovela melodrama, scripted on-camera action and unscripted behind-the-scenes plot twists. Embracing the complexity of conflicting cultural lenses, La Medea confronts the hysterical, dangerous, foreign woman, versus the revolutionary figure willing to destroy her own children in the name of justice. Chaos reigns under the skin of a classic myth.
Yara Travieso is a NYC-based director and choreographer creating hybrid works of film, dance installations, musicals and opera. She is a 2016 Creative Capital Awardee, a Performance Space 122 Ramp artist, BRIClab residency artist, and a 2015 National Association of Latino Arts and Cultures grantee through the Ford Foundation and the Surdna Foundation. Born in Miami FL, Travieso co-founded the Borscht Film Festival in 2005 and produced various award winning short films, all while attending and graduating from NYC's Juilliard School (Dance BFA, 2009). Her films and live performances have been presented across national and international venues as well as various galleries, museums, and festivals. Outside of institutional support, Travieso has been commissioned to direct original short films for Hermes of Paris, Glamour, GQ and Elle, as well as music videos for female centric bands. Having been selected as a 2005 YoungArts award winner, Travieso will return to Miami in the spring of 2017 to create an original work for the YoungArts' "Outside The Box" series, taking over their entire campus in a large scale outdoor production.
Umyuangvigkaq: PS122 Long Table and Durational Sewing Bee
Emily Johnson / Catalyst (NYC)
PS122's Long Table Discussion Series
Co-hosted with Emily Johnson/Catalyst and Ace Hotel
Ace Hotel, 20 West 29th Street, Mannahatta (Manhattan)
Jan 8 from 11:30am - 6pm
FREE
Let's create a just and equitable world. Let's spend some good time together doing so. Let's chew our words, share them, listen. Let's be okay when we don't know. Let's be supple and brave in our questions and our findings.
Umyuangvigkaq is a place to gather ideas. Here we will recognize and celebrate indigenous people, artists, art, methods and audiences. We will stitch together a quilt of conversation, ideas and fabrics. We will acknowledge indigeneity as we work to indigenize the performing arts world and the world at large. Come with ready hearts. Come all day or for a stitch. Every 2 hours we'll shift a conversation to a new critical topic engaging the intersections of the Indigenous with contemporary American culture. This durational Sewing Bee underpins a large-scale experiment in public engagement and sewing culminating in an all-night, outdoor performance event in 2017, Then a Cunning Voice and A Night We Spend Gazing at Stars, created by Emily Johnson/Catalyst.Conversations will be led by thinkers and practitioners around topics such as: This is Lenapehoking: Countering Perceived InvisibilityIndigenizing the Future: The Continuance of Aesthetic, Invention, Ceremony
My Dad Gives Blueberries to Caribou He Hunts: Indigenous Process and Research as Ceremony
Radical Love: Indigenous Artists and our Allies This Long Table Durational Sewing Bee is open to all indigenous people, artists and allies. Don't know if you're an ally? Come discuss.Emily Johnson/Catalyst's Sewing Bee events support the upcoming Then a Cunning Voice and A Night We Spend Gazing at Stars, a multi-year project dedicated to building an all-night, outdoor performance gathering. The work includes in equal measure: making quilts, performance, storytelling, song, ground and sky. It relies upon people coming together to voice intentions, witness, work, experience time, rest and imagine.Set to premiere in 2017, this phase of the project focuses on building a series of 84 hand sewn quilts (4000 sq. ft.) to be used in the final presentation of the piece. The quilts are designed by textile artist Maggie Thompson, sewn by volunteers from across the country, and are imbued with responses and reactions to the discussions highlighted throughout each of the quilting events. Umyuangvigkaq is just one of many Sewing Bee events throughout the project.
Red + White Party 2017
Co-hosted with Ace Hotel, Australia Council for the Arts, and the Australian Consulate-General New York
Ace Hotel, 20 West 29th Street, Manhattan
Jan 8 from 8pm - 12am
$10
Join us for a party of epic proportions (even by Australian standards) in celebration of the January chaos that is NYC festival season. Industry folk and straight up arts lovers travel from around the world or around the block to the most concentrated time in NYC for performances. If that doesn't warrant a party at a fancy hotel, we're unsure of what does.
Featuring work from visual artists Kristin McIver and Ian Strange with DJ Cam-Run (Bionic Boogie) to keep you dancing all night.
About Performance Space 122
Performance Space 122 (PS122) provides incomparable experiences for audiences by presenting and commissioning artists whose work challenges boundaries of live performance. PS122 is dedicated to supporting the creative risks taken by artists from diverse genres, cultures and perspectives. We are an innovative local, national and international leader in contemporary performance. Performance Space 122 began in 1980, emerging from a city struggling with high rates of poverty, crime, racial strife, and drugs, as well as the deaths of many vital artists and thinkers in the AIDS epidemic. Together with AIDS Service Center NYC, Mabou Mines and Painting Space 122, we've transformed an abandoned public school in the heart of a low-rise immigrant neighborhood into a multi-use community and cultural center. In our theaters, PS122 was able to foster an open and accessible culture of aesthetic risk-taking and social experimentation. PS122 provided artists working in performance, dance and theater with a safe space to test their own creativity, express revolutionary ideas and share artistic practices and projects with audiences adventurous enough to join them. Challenging and fun, PS122's Open Movement created a social glue that nurtured many of the contemporary choreographers, dancers and performance artists of the time as well as "non-artists" from the area. It demonstrated PS122's capacity as a laboratory for not just art, but community. The first decades of PS122 also succeeded in connecting audiences to vital provocateurs like Tim Miller, Karen Finley, John Fleck, Holly Hughes, Ethyl Eichelberger, Spalding Gray, Penny Arcade, John Leguizamo, Carmelita Tropicana and many others whose performances catalyzed debates and social change amongst not only the audiences who welcomed them at PS122 but at national and international levels. As decades passed, the city became cleaner, safer, greener and more expensive, and the neighborhood gentrified. Although PS122 became an "institution" during this time, it also managed to retain its gritty non-conformist character and engage artists in a dynamic and supportive environment. During this time, PS122 continued to invest in ground-breaking artists and build its local, national and international reputation, all the while navigating the waters of a recession, the shifting expectations of artists, audiences and stakeholders, and a major capital renovation of its home. PS122 championed the transformative works by Big Dance Theater, Annie Dorsen, Yehuda Duenyas, Elevator Repair Service, Tim Etchells (UK), Maria Hassabi, Ishmael Houston-Jones, Cuqui Jerez (Spain), Emily Johnson (Alaska/Yup'ik), Young Jean Lee, Richard Maxwell, Rabih Mroué (Lebanon), Meredith Monk, Okwui Okpokwasili, Mariano Pensotti (Argentina), Philippe Quesne (France), Radiohole, Ranters (Australia), LeeSaar (Israel/NYC), Andrew Schneider, Adrienne Truscott- and many other artists who have radicalized aesthetic form, explored our precarious relationships to new technologies and pushed audiences to engage in social or political debates on both intimate and philosophical levels. In 2013, PS122's East Village home began a much-needed interior renovation supported by the City of New York, Department of Cultural Affairs and Department of Design and Construction. We are invigorated by the prospect of this multi-year journey and the reopening of our custom designed theater spaces. These column-free, larger spaces Raise the Roof to feature a two-story ceiling allowing for more agency for artists and more expansive experiences for our audiences. Website: ps122.orgYouTube: https://www.youtube.com/user/PerformanceSpace122
Twitter + Instagram: @PS122
Facebook: http://www.facebook.com/ps122/Funding Credits Performance Space 122's Coil 2017 Festival is made possible in part by Australian Consulate-General in New York, Australia Council for the Arts, Axe-Houghton Foundation, British Council, Doris Duke Charitable Foundation, Flanders State of the Art, Howard Gilman Foundation, The Harkness Foundation for Dance, The Hyde and Watson Foundation, Jerome Foundation, Lambent Foundation Fund of Tides Foundation, The Andrew W. Mellon Foundation, Mertz Gilmore Foundation, Morrison Foerster Foundation, National Endowment for the Arts, National Performance Network (NPN), New England Foundation for the Arts' National Dance Project, New York City Department of Cultural Affairs in partnership with the City Council, The New York Community Trust, New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, Jerome Robbins Foundation, The Fan Fox and Leslie R. Samuels Foundation, The Shubert Foundation, and The Harold & Mimi Steinberg Charitable Trust.Yehuda Duenyas' CVRTAIN is commissioned by Performance Space 122 with an implementation grant from the Doris Duke Charitable Foundation for the Building Demand for the Performing Arts Program. AnTony Hamilton's MEETING is supported by the Australian Government through the Australia Council, its arts funding and advisory body, and was co-curated by Performance Space 122 and the City of Melbourne's Arts House. Forced Entertainment's Real Magic is co-produced by PACT Zollverein Essen, HAU Hebbel Am Ufer Berlin, Ku?nsterlhaus Mousonturm Frankfurt, Tanzquartier Wien Vienna, ACCA Attenborough Centre for the Creative Arts, University of Sussex and the Spalding Gray Consortium - On the Boards in Seattle, Performance Space 122 in NYC, Walker Art Center in Minneapolis, and the Andy Warhol Museum in Pittsburgh. Kate McIntosh's Worktable was commissioned in the frame of the event 'Performance Is a Dirty Work' funded by Roehampton University (England) with additional support from Flanders State of the Art. Palissimo's Custodians of Beauty is commissioned by the Walker Art Center with support provided by the William and Nadine McGuire Commissioning Fund, the Andrew W. Mellon Foundation, and the National Performance Network's (NPN) Creation Fund project created in partnership with the Walker Art Center, Legion Arts, New York Live Arts, and NPN. Co-commissioned by American Dance Institute (ADI). Additional support provided by the Jerome Foundation and the New York City Department of Cultural Affairs in partnership with the City Council. Residency and developmental support provided by the Cowles Center for Dance & the Performing Arts, the Lower Manhattan Cultural Council's Process Space, and the Dance in Process Program at Gibney Dance. Molly Lieber and Eleanor Smith's Basketball is commissioned by Performance Space 122 with support from the Jerome Foundation and Mertz Gilmore Foundation. Residency support provided by Baryshnikov Arts Center and Lower Manhattan Cultural Council. Britt Hatzius' Blind Cinema is commissioned by Vooruit (Ghent), Beursschouwburg (Brussels) and Bronks Theatre (Brussels) with additional support from Flanders State of the Art. Nicola Gunn's Piece for Person and Ghetto Blaster is commissioned by Mobile States, produced by Performing Lines and is supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and was co-curated by Performance Space 122 and the City of Melbourne's Arts House. Yara Travieso's La Medea is commissioned by Performance Space 122 as part of its 2016 emerging artists program, Ramp, with support from the Jerome Foundation. La Medea is a project of Creative Capital. The film component of La Medea is produced by Dance Films Association, Paul Galando, and Galen Bremer. La Medea is a recipient of a National Association of Latino Arts and Cultures Fund for The Arts Grant through the Surdna Foundation and The Ford Foundation. Additional support from BRICLab Residency, BRIC Arts Media House and PS122 Ramp residency support provided by Ideal Glass Gallery.
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