The award-winning Moscow-born filmmaker and photographer Alexander “Sasha” Kargaltsev has lived in Brooklyn for the past seven years.
ver the past decade, Brooklyn-based visual artist Geoffrey Chadsey has crafted a prolific body of work comprised of fictional portraits of ambiguously gendered subjects, rendered in astonishingly vivid detail, and exacted by obsessively precise colored-pencil and crayon strokes.
On May 11, 2014, Invisible Dog Art Centers founder, Lucien Zayan, invited French dancer and choreographer Thierry Thieû Niang to stage his response to The Rite of Spring with a cast of local senior citizens.
For the better part of this decade, New York audiences have kick-started each new year with their senses and intellects stimulated, challenged, teased, and even assaulted at the American Realness festival, curated by the indomitable Ben Pryor at the Lower East Side’s Abrons Arts Center.
Faye Driscoll’s Thank You For Coming: Play, a raucous, unbridled performance presented last month in its New York premiere at Brooklyn Academy of Music (BAM)’s 2016 Next Wave Festival, has quite a few things going for it. One of the strongest may be the uninhibited sense of joyous play, the likes of which you may not have experienced since childhood.
“An artist’s duty, as far as I am concerned, is to reflect the times,” said the legendary Nina Simone some decades ago, referencing, among other things, the civil rights movement that fomented America at the time.
Seeing the Batsheva Dance Company, under the leadership of the iconic Israeli choreographer Ohad Naharin, always feels like a treat. Not surprisingly, I find the troupe in excellent form on the occasion of the New York premiere of their 2015 production, Last Work, presented at BAM in early February.
A Karenina, a Cleopatra, an exotic dancer, a southern belle in S&M boots, a lady in a bare-bone hoopskirt, all gingerly shimmy across the stage, while making eye contact with audience members with come hither expressions on their faces. Moments later, the dancers gradually shed this bizarre veneer of seductiveness and begin to adopt an increasingly aggressive and animalistic stance, eventually sneering at the spectators like a pack of rabid dogs. Later still, they interrupt the barking fit abruptly, laughing it off dismissively.
Director/choreographer Yanira Castro is no stranger to creating works that are large in size and/or scope.
Art and science of the unraveling mind: A My Name Is… STEFANIE NELSON and DAVID SHENK with Ivan Talijancic
Stefanie Nelson’s choreography has been presented extensively within New York’s contemporary dance circuits, including such venues as Dance Theater Workshop, 92nd Street Y, Joyce SoHo, Dance New Amsterdam, and Triskelion Arts.
This fall Christa is reconnecting to her rootsboth artistic and familialmaking her comeback as a stage performer in a cross-media solo, named after her elderly mother, Magdalena.
Earlier this spring, the performer and choreographer Emily Johnson presented SHORE, the culminating event in a trilogy of works she had been pursuing since early 2010 in response to displacement, to feeling disconnected from place, people, ceremony, and tradition.
The summer may be on its way out, but things are really just revving up in nora chipaumire’s fantasy boxing ring. Decked out in all manner of protective gearfrom imposing shoulder pads borrowed from American football paraphernalia to African medicine belts snaking their way around her waistshe is ready to duke it out with the superhero avatar of her absentee father, conjured up from scarce evidence: elusive childhood recollections, an old identity card, and hearsay.
For a moment, Okpokwasilis ruminations on the transformative power of poetry transport me to a visceral experience of my own. Last June, I ventured out to Governors Island to witness an iteration of her current work, presented as part of the River To River Festival.
Last fall, when I agreed to write about the final edition of the annual Coil festival, I could not have imagined that come mid-January the festival’s mother ship—the organization formerly known as Performance Space 122—would find itself rocked by some seriously choppy seas.
Never the one to shy away from difficult subject matter, Jack Ferver has created an idiosyncratic body of work over the past decade, managing to pull off an audacious feat of making his audience flinch and laugh simultaneously. In the press, his contemporary performance works have been referred to as darkly humorous (The New York Times), while The New Yorker went so far as to declare that they look and feel like exorcisms
A Brooklynite by way of San Juan, Puerto Rico, Yanira Castro began dancing and choreographing shortly after graduating college in 1994. The Rail spoke with Yanira as her company gears up for a world premiere at Danspace Project later this month.
A note from the Editor: In the same spirit of the Music sections Undiscovered Lands, weve dedicated October to dancers who we believe deserve greater recognition. Spotlighted here are 16 artists who have captivated us with their virtuosity and inventiveness, their vulnerability and grace. By no means an exhaustive list, were excited to begin the conversation.
James Thierrée is certainly no stranger to the New York theater cognoscenti, and beyond, appearing on stage since the age of four with his parents’ company Le Cirque Imaginaire.
The iconoclastic Flemish director Ivo van Hove is hardly a stranger to New York theatergoers—downtown, uptown, and Broadway alike.
If you have had any exposure to New York’s downtown theater scene, chances are you are familiar with Jim Findlay’s work.
For the downtown theater cognoscenti, Blessed Unrest hardly requires an introduction. The perspicacious theater ensemble has made a name for itself owing to its boldly physical interpretations of theatrical classics as well as incisive takes on new writing, garnering awards along the way both in the U.S. and abroad.
Whether you are a regular in the experimental theater circuit or an occasional downtown denizen, chances are you have been exposed to some of the most memorable performance images around, as captured by the impeccable eye (and camera) of the Russian-born photographer Maria Baranova.