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Archived Events From PS122 Pre 2018

Blind Cinema


Britt Hatzius (United Kingdom / Belgium)
Blind Cinema

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.

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.

“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)

Co-presented with SVA Theatre
in partnership with East Village Community School

Jan 9-12 – 5:30pm
40 minutes

at SVA Theatre,
333 West 23rd Street in Manhattan

$20
 
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Credits

Direction and Concept: Britt Hatzius
Dramaturgy: Ant Hampton
Film: Britt Hatzius, Simon Arazi, Boris Belay, Maxim
Design & Production (blindfolds & contraptions): Britt Hatzius, Maria Koerkel, Gert Aertsen
Creative Producer: Katja Timmerberg

About the Artists

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.

About our Partner

Featuring two theaters, an elegant lobby and green room designed by Milton Glaser, the SVA Theatre hosts both intimate and extravagant events. The Theatre has been home to red carpet Hollywood premieres, awards shows, film festivals, conferences and theatrical events. svatheatre.com

Featured Image by Britt Hatzius.

Britt Hatzius’ Blind Cinema is commissioned by Vooruit (Ghent), Beursschouwburg (Brussels) and Bronks Theatre (Brussels) with additional support from Flanders State of the Art.

Partners:
SVA Theatre Logo East Village Community School Logo

Sewing Bee


Emily Johnson / Catalyst (NYC)
Umyuangvigkaq: PS122 Long Table and Durational Sewing Bee

Co-hosted with Emily Johnson/Catalyst and Ace Hotel New York

Umyuangvigkaq is “a place to gather ideas”. 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.

We will stitch together a quilt of conversation, ideas, and fabrics. Here we will recognize indigenous people, artists, art methods, and audiences as we indigenize the performing arts and the world at large.

Come with ready hearts. Come all day or for a stitch. Every 75 minutes 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.

Click here to see a list of recommended readings shared by the provocateurs of the day.

Sun Jan 8 – 11:30am-6pm

at Ace Hotel New York,
20 West 29th Street, Mannahatta (Manhattan)

FREE Event; RSVP Recommended

Schedule of the day

Conversations will be led by thinkers and practitioners around topics at designated times throughout the day:
 
11:30am Breakfast is served and Welcome to Country
12:00pm This is Lenapehoking: Countering Perceived Invisibility
1:30pm Indigenizing the Future: The Continuance of Aesthetic, Invention, Ceremony
3:00pm My Dad Gives Blueberries to Caribou He Hunts: Indigenous Process and Research as Ceremony
4:30pm 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.

About the Project

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. www.catalystdance.com

About our Partner

Ace Hotel New York reinvents the urban hotel for the people who make cities interesting. With a sense of curiosity and respect for the history and culture of New York City, the 12-story hotel lives in a historic, turn-of-the-century building in Midtown Manhattan. The space serves up engaged fashion retail, a Michelin-starred restaurant and eloquent, mischievous and interesting answers to the travel experience.
www.acehotel.com/newyork

Provocateurs

Lee-Ann Tjunypa Buckskin is a Narungga, Wirangu, Wotjobaluk woman and is South Australia. Lee-Ann is well known throughout the Australian Indigenous and arts communities and has worked across many major Festivals and events within Australia including Adelaide Fringe, Adelaide and Brisbane Festivals. She has produced Blak Nite South Australia’s leading Indigenous Youth Arts Festival as part of the 2005, 07, 09 and 11 Come Out Festivals, The Australian Festival for Young People. Lee-Ann’s held a position for more than ten years with Carclew Youth Arts in Adelaide as Manager of the Community Program as well as the Aboriginal Arts Development Program. She has a Bachelor of Arts in Communications from the University of South Australia. In 2005, she was awarded the prestigious internationally recognised Sidney Myer Facilitator Prize. The Prize recognises Lee-Ann’s tremendous contribution to Indigenous arts in this country. She is the recipient of two Ruby Awards in South Australia. She designed the Aboriginal and Torres Strait Islander War Memorial, for South Australia which was opened by the Governor General Quentin Bryce in Adelaide 10 November 2013. The project won the Ruby Award for Best Work. In 2016 she won the Geoff Crowhurst Memorial Ruby Award for her sustained contribution to the arts and community cultural development in South Australia. Lee-Ann is the newly appointed Deputy Chair of the Australia Council for the Arts. She is the Co-chair of Tarnanthi the Festival of Contemporary Aboriginal and Torres Strait Islander Visual Arts Festival, Adelaide. Lee-Ann currently is the Executive, for Aboriginal Screen Strategy for the South Australian Film Corporation. Furthermore, she is also a member of the National Museum of Australia’s Aboriginal Advisory Committee.

Vicki Van Hout is of Dutch and Wiradjuri descent (with a few other cultures mixed in for good measure) and is a graduate of NAISDA Dance College (Australia’s premier Indigenous tertiary training institution) and the Martha Graham Sc. of Contemporary Dance NY, NYC. Van Hout returned to Australia after an invitation by Director Stephen Page to perform with Bangarra Dance Theatre, for the New Horizons Asian Tour of the groundbreaking ballet, Ochres (1996/7). Since returning from New York (almost 20 years to this day)Vicki has utilized her dance as a vehicle to explore other art forms including film and set design, as seen in her major works; Briwyant where she created a river of over 2,000 playing cards to emulate both her ancestral homeland country and the art of repetitious dot painting, Long Grass whereby Van Hout created another intricate set environment emulating the quick growing tall grasses of the Northern Territory, utilizing large scale live indigenous weaving techniques, crafted from contemporary materials and as Director/co designer of playwright Jane Harrison’s well-trodden Stolen, creating a readymade morphing Dreaming-scape from scraps of recycled cardboard. After over 30 years as a performer Vicki regards her inclusion in the historic Aboriginal opening of parliament, preceding the National Apology to the Stolen Generations in 2007, one of the most memorable highlights.

Born and raised on the Annette Island Indian Reserve, Sm Łoodm ’Nüüsm (Dr. Mique’l Dangeli) is of the Tsimshian Nation of Metlakatla, Alaska. She is a dancer, choreographer, curator, activist, and Assistant Professor of Alaska Native Studies at the University of Alaska Southeast. Her work focuses on Northwest Coast First Nations and Alaska Native visual and performing arts, art history, protocol, politics, sovereignty, language revitalization, and decolonization. Mique’l served for eight years as the Director of her community’s museum in Metlakatla. For the past thirteen years, she and her husband artist and carver Mike Dangeli (Nisga’a, Tsimshian, Tlingit, and Tsetsaut Nations) have share the leadership of Git Hayetsk, an internationally renowned Northwest Coast dance group who was recently featured performers at the Smithsonian’s National Museum of the American Indian. She is an artist-in-residence at the Scotiabank Dance Centre in Vancouver and a Protocol Consultant for the Indigenous Performing Arts Alliance in Toronto.

Karyn Recollet is an Assistant professor in the Women and Gender Studies Institute at the University of Toronto. Karyn is an urban Cree, residing in the traditional territories of the Petun, Wendat, Mississauga’s of the New Credit, Dish with One Spoon treaty territory.  Karyn’s research explores the various intersections of Indigenous artistic activations rooted in the multiple layered Indigenous territories that are urban spaces. Karyn’s focal points are choreographic fugitivity, Indigenous futurities, and decolonial love. Karyn’s publications include articles Glyphing Decolonial love, Gesturing Indigenous futurities, and has coedited alongside Eve Tuck, Native Feminist Texts (a special edition of English Journal). Karyn is currently working on a manuscript entitled Urban glyphs: fugitivities, futurities, and radical decolonial love.

Featured Image by Chris Cameron.

Basketball


Molly Lieber and Eleanor Smith (NYC)
Basketball

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.

“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

Commissioned by PS122
Co-presented with Baryshnikov Arts Center

Jan 7 – 7pm
Jan 8 – 4pm, 7pm
Jan 9 – 4pm
Jan 10 – 7pm
60 minutes

at Howard Gilman Performance Space,
Baryshnikov Arts Center,
450 West 37th Street, Manhattan

$20
 
Coil Pass Holders:
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Credits

Choreography and Performance: Molly Lieber and Eleanor Smith
Sound Design: James Lo
Set Design: Liliana Dirks-Goodman
Costume Design: Claire Fleury
Lighting Design: Thomas Dunn

About the Artists

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.

About our Partner

Baryshnikov Arts Center (BAC) is the realization of a long-held vision by artistic director Mikhail Baryshnikov who sought to build an arts center in Manhattan that would serve as a gathering place for artists from all disciplines. BAC’s opening in 2005 heralded the launch of this mission, establishing a thriving creative laboratory and performance space for artists from around the world. BAC’s activities encompass a robust residency program augmented by a range of professional services, including commissions of new work, as well as the presentation of performances by artists at varying stages of their careers. In tandem with its commitment to supporting artists, BAC is dedicated to building audiences for the arts by presenting contemporary, innovative work at affordable ticket prices. For more information, please visit www.bacnyc.org.

Featured Image by Molly and Eleanor.

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.

Partners:
BAC Logo

Worktable


Kate McIntosh / SPIN (Belgium)
Worktable

Worktable is a live installation that contemplates and completes acts of creation and destruction using every day, domestic objects. Sign up to enter and stay as long as you like.

Once inside Worktable, you are given instructions, equipment and safety goggles. It’s up to you to decide how things come apart.

“The object becomes a totem to the potential that we all hold to continue the cycle of destruction and renewal of ideas and objects, with all the pathos and hope that entails.” – James Smith, This is Tomorrow (UK)

Co-presented with The Invisible Dog Art Center

Jan 5-7, 9 – 12-8pm
Jan 8 – 11am-7pm
45-60 minutes
Tickets are booked individually in cycles of 15 minutes.

at The Invisible Dog Art Center
51 Bergen Street, Brooklyn

$20
 
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Credits

Concept and Realization: Kate McIntosh 
Production: SPIN
Tour Management: Sarah Parolin
With thanks to Bruno Roubicek, Hester Chillingworth, Caroline Daish, Palli Banine, Ant Hampton, Joe Kelleher, Tim Etchells, Adrian Heathfield, Simon Bayly.

About the Artists

Kate McIntosh is an artist based in Brussels, originally from New Zealand, working across the boundaries of performance, theatre, video and installation. Originally trained in dance, McIntosh has performed internationally since 1995 appearing in the work of many internationally-acclaimed directors and currently tours her own performance and installation work around Europe, Australasia, Asia and the Americas – while this is her first appearance in the USA. Together with Diederik Peeters, Hans Bryssinck and Ingrid Vranken, McIntosh is a founding member of SPIN – an artist-run production and research platform in Brussels, who also organize publications and events for knowledge exchange. www.spinspin.be

About our Partner

The Invisible Dog Art Center is housed in a three-story former factory building in Boerum Hill, Brooklyn. Built in 1863, our 30,000 square foot facility has been the site of various industrial endeavors – most notably a belt factory that created the famous Walt Disney invisible dog party trick, from which they take their name. The building remained dormant from the mid 1990’s to 2009 when founder, Lucien Zayan, opened The Invisible Dog.

The Invisible Dog is dedicated to the integration of forward-thinking innovation with respect for the past. In 2009 the building was restored for safety, and has been maintained over the years, but otherwise preserved in tact from its original 1863 form. The rawness of the space is vital to the space’s cultural identity.

The ground floor is used for exhibitions, performances and public events, featuring artists and curators from round the world. This floor also includes a new pop-up shop, designed by artist-in-residence Anne Mourier, conceived as a new home for independent, commercial designers in various fields. The second floor and part of the third floor are divided into over 30 artists’ studios.The third floor, luminous and spacious is used for private events, exhibitions, performances and festivals. Finally, the Glass House is a brand new, seasonal exhibition space dedicated to featuring the work of female-identified artists.
www.theinvisibledog.org

Featured image by Kate McIntosh.

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.

Partners:
The Invisible Dog

Custodians of Beauty


Pavel Zuštiak/Palissimo (NYC)
Custodians of Beauty

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.

“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

Co-presented with La MaMa

Jan 5 – 8pm
Jan 6 – 5pm
Jan 7 – 5:30pm
Jan 8 – 2pm
85 minutes

at La MaMa, The Downstairs
66 East 4th Street, Manhattan

$20
 
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Credits

Concept, Direction, Choreography: Pavel Zuštiak
Performers: Nicholas Bruder, Emma Judkins, Justin Morrison
Original Music: Christian Frederickson
Lighting Design: Joe Levasseur
Set Design: Simon Harding
Costume Design: Ásta Bennie Hostetter
Dramaturgy: Megan Carter
Text: Alexandra Collier.

About the Artists

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. www.palissimo.org

About our Partner

La MaMa Experimental Theatre Club is dedicated to the artist and all aspects of the theatre. Founded in 1961 by Ellen Stewart, La MaMa is recognized as the seedbed of new work by artists of all nations and cultures. To date, La MaMa has presented more than 150,000 artists from over 70 nations. Each season, we offer more than 80 productions and receive 34,000 visits from people of all ages and all backgrounds who attend performances, exhibitions, educational activities and the Archives. We support the people who make art, and it is to them that we give $2 million of in-kind support including free theatre and rehearsal space, and audio/visual package, tech support, marketing support, and ticketing services. We enable artists explore their ideas and translate them into a theatrical language that can communicate to any person in any part of the world. La MaMa is the place where emerging artists learn from established artists and where artists from around the globe share work and ideas. Our East Village campus has grown to include four theatres, an art gallery, artist work and living space and an extensive Archive. For more information, visit lamama.org.

Featured image by Maria Baranova.

Pavel Zuštiak/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.


Partners:
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