Category: Upcoming Performances

dataPurge
Ryan Holsopple / 31 Down (NYC)

dataPurge is the first live exploration of PS122’s Virtual programming which investigates how we create live performance digitally, interactively and beyond the stage.

dataPurge is a live, virtual cleansing of one’s digital life. Clients will undergo data dialysis by monitoring the emotions associated with their online identities using body sensors and brain wave monitors during a live-streamed event. Online viewers can influence client outcomes through an interactive platform – a dataPurge version of group therapy. Upon completion, each client leaves with their soul awakened and ready to re-enter the digital world again with a clean slate.

Online viewing and participation from 11am-11am starting January 15th at https://datapurge.me

24 hours durational

 
Commissioned by PS122
Co-presented with Gibney Dance

24-Hour Online Participation/Viewing begins January 15th – 11AM

Opening reception:
Jan 15 from 7-9pm
FREE; Reservations Recommended

Gibney Dance: Agnes Varis Performing Arts Center
280 Broadway , Manhatttan

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Ryan Holsopple (31 Down’s Artistic Director/Sound Designer/Programmer) is a creator of performance work and the founder of 31 Down.
 
Recent projects include: Interaction Design for Mallory Catlett’s This Was The End, The Chocolate Factory, (2014 Bessie Award for Visual Design). Played Kenney in Radiohole’s production of Tom Murrin’s Myth (or Maybe Meth), La Mama, 2014 (Bessie Award Nominee). Associate Video Design for Annie Dorsen’s A Piece of Work, BAM Next Wave 2013, On The Boards, Seattle (2013). Interaction Design for Radiohole’s Inflatable Frankenstein, The Kitchen, January 2013. Interaction Design for Mantra Percussion’s performance of Timber, by Michael Gordon, BAM, December 2012. Programming laser pointer audience interaction for Bill Morrison’s Shooting Gallery, premier at BAM’s Next Wave Festival, November 2012; Plant Interaction Design for Jim Findlay’s Botanica (3LD, 2012).
 
Ryan was nominated for the 2011 Hewes Design Award for sound design of 31 Down’s Here At Home, presented by the Bushwick Starr. 31 Down was awarded a Best Of New York 2007 by the Village Voice for their interactive telephone murder mystery set in the New York Subway system called Canal Street Station, co-produced by free103point9 Transmission Arts.
 
Ryan has performed and designed sound for all of 31 Down’s performances including: Here At Home (Bushwick Starr), Red Over Red (Incubator Arts Project), The Assembler Dilator (PS122), That’s Not How Mahler Died (Ontological Theater).
 
Ryan has taught radio communication at the College of Staten Island and is a graduate of NYU’s Interactive Telecommunications Program.
 
31 Down is an experimental theater company based in Brooklyn, New York. 31 Down’s work is darkly themed performance with a heavy emphasis on complex sound design, imagery and mood. Custom interactive systems are developed to create and control the performances. Works have been produced in various parts of the performance spectrum, from the stage and location-based shows, to the virtual arena including Internet based work that uses live streaming, chat-rooms, networked surveillance cameras, public telephones and radio transmissions. Works have been presented by The Bushwick Starr, Performance Space 122, the Incubator Arts Project and free103point9 Transmission Arts.

 

 

About Gibney Dance
Gibney Dance brings the possibility of movement where it otherwise would not exist. Through three interrelated fields of action—Center, Company, and Community Action—Gibney Dance is “Making Space for Dance” in studios, on stages, and in underserved shelters and schools.
 
Center
Gibney Dance Centers are a powerhouse of cultural support for the performing arts community and the City itself. In 1991, Gibney Dance began leasing a studio in the historic 890 Broadway building to house Company rehearsals, and by 2011 the organization’s presence at that location had expanded to comprise an expansive eight-studio creative center. Today, with the addition of 280 Broadway, the organization directs a performing arts complex with two facilities: the Choreographic Center at 890 Broadway and Performing Arts Center at 280 Broadway. These remarkable spaces enable a robust roster of events designed to meet the needs of the dance field by fostering the creative process, encouraging dialogue, and providing professional development opportunities.
 
Company
Gibney Dance Company is the Centers’ acclaimed resident dance ensemble, led by choreographer Gina Gibney. Since its founding in 1991, the Company has developed a repertory of over thirty works that have been performed throughout the US and abroad. Gibney is known for using weighted, spiraling phrases to craft interpersonal dynamics between the dancers. These carefully calibrated relationships reflect the dancers’ experiences as community activists. As observed by writer Deborah Jowitt: “(t)hat Gibney’s troupe has long worked for the empowerment of battered women is reflected in the dancers’ struggles, their uncommon resilience, the support one readily offers another.” Highly sought-after by a wide range of performing arts institutions, the Company has been featured in recent years at Danspace Project (New York), White Bird (Oregon) the Yale Repertory Theater (Connecticut), L’Agora de la Danse (Montreal, Canada), and Internationale Tanzmesse (Dusseldorf, Germany).
 
Community Action
Gibney Dance Community Action provides New York City domestic violence shelters with over 500 free movement workshops each year. At these workshops Company members share activities that draw from artistic practices to address issues of choice and self-expression. Community Action was initiated in 2000 in collaboration with Sanctuary for Families and Safe Horizon, two of the country’s most prominent domestic violence organizations. Widely regarded as a model in the field, Community Action’s methods for integrating arts and social action are distributed nationally—via our Institute for Community Action intensive that annually hosts dancers from across the US—and internationally—through Global Community Action Residencies, most recently in Cape Town, South Africa.

 

 

 

Coming Soon!

 

dataPurge has been commissioned by PS122 with an exploration grant from the Doris Duke Charitable Foundation for the Building Demand for the Performing Arts Program and is supported in part by an award from the National Endowment for the Arts. Art Works.

Shanghai / New York: Future Histories
Sam Wu, Qin Yi and Zulan (China)

In our fractured times, it is more important than ever that artists and audiences are brought together to share their work and ideas. Performance Space 122, Asia Society, and the China Shanghai International Arts Festival (CSIAF) have begun an unprecedented institutional collaboration with these ideals in mind. Sam Wu, Qin Yi and Zulan come together in a music focused, multidisciplinary evening. These three emerging artists are articulating new forms – locally sourced but distinct in their engagement with the larger, international audience.
Please join us after the 5PM performance for a dialogue with the artists.

Co-curated with Rachel Cooper.

90 minutes

Co-presented with Asia Society and China Shanghai International Arts Festival

Jan 13 – 5PM & 8:30PM

Asia Society
725 Park Avenue, Manhattan
FREE; Reservations Recommended

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Sam Wu is a self taught 18-year old wunderkind whose award-winning chamber music compositions have been described as “warm, sincere, and characteristic of a compassionate 21st-century metropolitan youth.” His chamber composition dolphin song is a lamentation on the recent extinction of Yangtze River “baiji” White Dolphins, and played by the violin, the viola, the cello, the piano, the bamboo flute and the percussion.

Mirror Mind, composed by a pioneer of Chinese contemporary electronic music Qin Yi, is a cross-over experiment combining dramatic performance, live percussion, interactive multi-channel electronic music and new-media visual arts. Mirror Mind explores the multi-layered nature of human existence with a “pan-acoustic” narrative approach.

Internationally recognized composer, Zulan, creates a special new music piece based on the Nobel Literature Prize Winning play Death and the Maiden using music to describe the ‘Six Desires of a Human Being’ – a Buddhism concept, which describes the six sensory pleasures derived from the eyes, ears, nose, body and mind.

Asia Society is the leading educational organization dedicated to promoting mutual understanding and strengthening partnerships among peoples, leaders and institutions of Asia and the United States in a global context. Across the fields of arts, business, culture, education, and policy, the Society provides insight, generates ideas, and promotes collaboration to address present challenges and create a shared future.

Founded in 1956 by John D. Rockefeller 3rd, Asia Society is a nonpartisan, nonprofit educational institution with offices in Hong Kong, Houston, Los Angeles, Manila, Mumbai, New York, San Francisco, Seoul, Sydney and Washington, DC. For more information visit AsiaSociety.org.

China Shanghai International Arts Festival (CSIAF), which is hosted by the Ministry of Culture of the People’s Republic of China and organized by Shanghai Municipal People’s Government, is the only states-level International Arts Festival in China. Since 1999, driven by the concept of “innovation and development” with the emphasis on brand-effect development, CSIAF has grown into a flagship project for cultural exchange as well as one of the most influential festivals in the international art circles.

The China Shanghai International Arts Festival is held from Mid-October to Mid-November every year. The Festival consists of several sections, including stage performances, exhibitions, the Arts Space performance Series, performing arts fair, forums and seminars, public cultural activities, festivals in the Festival, and the Young Talents Program called “R.A.W.!”(Rising Artists’ Works). With a Galaxy of artistic classics an well as a dazzling display of original works and creative cultures, the arts festival will consistently present the most fabulous and splendid art feast to the audience from home and abroad.

Many masters and superstars have presented their excellent programs on the stage including the great conductors Zubin Mehta, the pianist Lang Lang, the cellists Mischa Maisky and Yo-Yo Ma, the violinist Itzak Perlman, the choreographer Alvin Ailey, etc. Plenty of world-renowned orchestras and ballet companies including Berliner Philharmoniker, The Israel Philharmonic Orchestra, Nederlands Dans Theater, Bejart Ballet Lausanne, etc. have left their classical charms on the festival stage.

Asia Society is located in the Manhattan neighborhood of the Upper East Side, which is host to some of the most famous museums in the world including the Met and Guggenheim.

Shanghai / New York: Future Histories is a major arts project of Shanghai Municipal Government sponsored by Shanghai Cultural Development Foundation. All participating artists are within RAW (Rising Artists Works), a new series of the CSIAF and a platform that develops new ideas and emerging artists from across China.

From A to B via C
Alexandra Bachzetsis (Switzerland)

Swiss choreographer Alexandra Bachzetsis has been exploring the various provinces and domains of ‘mainstream’ popular culture – hip-hop, fashion, strip-tease, movies – and extracted the signature vignettes and ensemble pieces from it that have come to define her choreographic, performative practice.
 
Inspired by Diego Velázquez’s seminal rendition of Venus at her Mirror (1599-1600), From A to B via C opens with three bodies moving from and towards each other, acting as each other’s mirror image – mediated and unsynchronized. Complex scenes of nudity, gazing and instructional scores reflect on our common desire to communicate our own identity through the identities of others.
 
Choreographer: Alexandra Bachzetsis
Dancers: Alexandra Bachzetsis, Anne Pajunen and Gabriel Schenker
Research Curator: Hendrik Folkerts
Costume Design: Cosima Gadient
Sound Design: Tobias Koch and Dan Solbach

“In her new work, the Swiss choreographer turns the stage into a training and instruction room … where the levels shift as constantly as the linguistic forms.” – Der Sonntag (Vienna)

60 minutes

 

Performances:
Jan 11 – 5pm SOLD OUT
Wait list for 5pm – click here
Jan 14 – 7pm

Media Installation:
Jan 12-13 – 12-6pm

Swiss Institute / CONTEMPORARY ART
18 Wooster St, Manhattan
FREE; Reservations Recommended

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Alexandra Bachzetsis is an artist, performer and choreographer based in Basel and Zurich. Her professional background includes a wide range of disciplines: theatre, dance and visual arts. She studied and graduated at the Zürcher Kunstgymnasium (CH), the Dimitrischule in 
Verscio (CH) and the Performance Education Program at the STUK arts centre in 
Leuven (BE). She then continued to post-graduate level at Das Arts, the Advanced Research in Theatre and 
Dance Studies centre in Amsterdam (NL). During her training years, she began to work as a dancer in contemporary dance and performance 
context, collaborating among others with Sasha Waltz & Guests in Berlin (D) and 
with Les Ballets C. de la B. in Gent (BE), where she worked with Christine De Smedt and Koen Augustijnen. Since 2001, she has been working independently, producing and presenting her own work in theaters and contemporary art venues.
 
Her work constitutes an inquiry into genres of performing arts, techniques of choreography and forms of scenic behavior. Bachzetsis’ main interest lies in codes that govern gestures, both in everyday life and on stage. Her choreography scrutinises the mutual influence between the use of gesture and movement in the ‘low’, ‘commercial’ genres – such as romantic comedy, TV soap, or hip-hop video-clip – and in ‘arts’, such as ballet, modern dance and performance. Bachzetsis arrives at new ideas in dance performance inducing a productive crossing and translation between the hitherto isolated or even mutually exclusive cultural fields. In her performances, Bachzetsis takes on stereotyped modes of representation of female body in contemporary popular culture, show business and sex industry. She diverts clichés of commodified femininity and idolized masculinity to use them as building blocks in a new, consistent formal language that becomes tool of self-reflection and means to empowerment.
 
 

Founded in 1986, Swiss Institute (SI) is one of New York’s key non-profit institutions for contemporary art. Open to the public free of charge, it provides a significant forum for contemporary cultural dialogue between Europe and the United States. Swiss Institute produces four exhibitions per year along with a series of public programs including lectures, performances, and screenings. Recent highlights include solo or duo exhibitions of emerging artists including Allyson Vieira, Pamela Rosenkranz, Nikolas Gambaroff, and Nicolas Party; shows presenting specific bodies of work by celebrated artists such as John Armleder and Roman Signer; as well as rediscoveries of overlooked figures including Karlheinz Weinberger and Heidi Bucher. Swiss Institute’s artistic program is supported by institutional and corporate sponsors as well as the generosity of individuals.

 

 

 

The Swiss Institute is located in the downtown Manhattan neighborhood of SoHo, which in recent history came to the public’s attention for being the location of many artists’ lofts and art galleries, but is now more noted for its variety of shops ranging from trendy upscale boutiques to national and international chain store outlets.
 

 

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From A to B via C was commissioned and developed in collaboration with Tate Modern, London, Biennale of Moving Images, Geneva and Fundatión Jumex Arte Contemporáneo, Mexico City. Co-produced with Kaserne Basel and Theaterhaus Gessnerallee, Zürich. Swiss Institute programming is made possible with public funds from Pro Helvetia, Swiss Arts Council. PS122 presentation support provided by Mertz Gilmore Foundation, Harkness Foundation for Dance and Jerome Robbins Foundation.

MY VOICE HAS AN ECHO IN IT
Temporary Distortion (NYC)

MY VOICE HAS AN ECHO IN IT is a six-hour durational performance of live music, spoken text and video set within a freestanding, sound-proof installation that is 24 feet long by 6 feet wide. While viewing the performers through two-way mirrors, audience members listen to music ranging from drifty ambient sounds to erasure poetry to raucous punk-inspired anthems through headphones along the outside perimeter of the installation. Complex and densely layered, Temporary Distortion creates an intimate experience where everyone has a front row seat.

 
Viewers are encouraged to come and go throughout the six-hour duration of the event. Capacity is limited and reservations are strongly recommended.
 
 
“Temporary Distortion just keeps elevating their game. You could call that game sculptural video, or perhaps living set design, or maybe just multimedia ravishment.” – Time Out New York
 

6 hours durational

 
Co-presented with Ideal Glass Gallery

Jan 7 – 6pm to 12am
Jan 8 – 6pm to 12am
Jan 9 – 6pm to 12am
Jan 10 – 6pm to 12am
Jan 11 – 12pm to 6pm

Ideal Glass Gallery
22 East 2nd Street, Manhattan
FREE; Reservations Recommended

#COIL15

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Temporary Distortion explores the potential tensions and overlaps found between practices in visual art, theater, cinema and music. The group works across and between disciplines to create performances, installations, films, albums and works for the stage.
 
Interdisciplinary artist Kenneth Collins formed Temporary Distortion in 2002 when he began staging intimate performances in claustrophobic, life-size shadow boxes in New York City. Performers were isolated behind large sheets of glass and whispered lyrical texts into microphones from inside each box, accompanied by atmospheric music and changes in light.
 
In later works, larger boxlike structures were built from steel scaffolding, industrial lights, speakers, televisions and video projection surfaces. The group began merging installation, theater and cinema in 2007 for a trilogy of popular film genre deconstructions: Welcome to Nowhere, Americana Kamikaze and Newyorkland. This trilogy concluded in 2012.
 
Temporary Distortion’s recent work has focused on long-duration, installation-based performance featuring live music, where spectators are encouraged to freely come and go throughout all-night events…

 

 

Ideal Glass Gallery is an New York-based art collective founded by performance artist and filmmaker Willard Morgan to shock, entertain, and transform. Collaborating with art-wear sculptor Uta Bekaia, visual artist Ayakamay, sound designer John Sully, editor Jessie Stead, the international team explores social activism, gentrification, sexual identity, and the slavery of debt-through live performance, sound recording and art video.

EMPAC is where the arts, sciences, and technology interact with and influence each other by using the same facilities, technologies, and by breathing the same air. Situated on the campus of Rensselaer Polytechnic Institute, EMPAC is dedicated to building bridges between our human senses, to modes of perception and experience, to creating meaning in a physical environment, and to the intangible world of digital technology.
 
 

 

 

 

Installation Designer, Direction & Text: Kenneth Collins
Composition, Musical Direction & Sound Design: John Sully
Video Design & Assistant Installation Design: Scott Fetterman
Performances by: Kenneth Collins,
Scott Fetterman, Jenna Kyle and John Sully
Metalsmith: H. Scott Fetterman
Assistants: Daniel Acampa, Lauren Dunitz, Michael William Freeman & Emily Perry

MY VOICE HAS AN ECHO IN IT was commissioned by Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute, Troy, NY with composer commissioning award and additional support from the New York State Council on the Arts’ with the support of Governor Andrew Cuomo and the New York State Legislature and additional support, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Residency support provided by The Watermill Center and Ideal Glass Gallery.

The Blind Date Project
Ride On Theatre (Australia)

Unpredictable, dark and funny, The Blind Date Project is an event to which everyone can relate – a blind date between two people who have never met and who are desperately in need of connection.
 
Australian Film Institute award-winner and TV actress Bojana Novakovic (Rake, Shameless) plays Anna – a woman waiting at a karaoke bar for her date to arrive. That date is a different performer every night. She has no idea who she is about to meet or what is about to happen. Devoid of scripts or rehearsals, this is an entirely improvised, intensely personal interaction – including karaoke numbers – in front of a crowd of willing participants. Guided live via text messages and phone calls by the director, and interspersed with random songs, each date promises to be as bizarre as it is dangerous. No two shows are ever the same. Things may turn out to be humiliating, tender or totally hot.

“It’s like witnessing magic. A unique theatrical experience not to be missed.” – Time Out Sydney

Creators: Bojana Novakovic and Mark Winter
Collaborators: Tanya Goldberg and Thomas Henning
Director: Scott Rodgers
Producer: Andrew Carlberg
Karaoke Queens: Kelly McCrann and Margaux Susi

60 minutes, no intermission

 
Co-presented with Parkside Lounge

Jan 7 – 7pm
Jan 8 – 9pm
Jan 9 – 7pm & 10pm
Jan 10 – 7pm & 10pm
Jan 12 – 5:30pm
Jan 13 – 8pm
Jan 14 – 8pm
Jan 15 – 9pm
Jan 16 – 7pm & 10pm
Jan 17 – 7pm & 10pm

Parkside Lounge
317 E Houston St, Manhattan
$25 / $20 Students & Seniors
MUST BE 21 YEARS OF AGE

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Wednesday 1/7 – Jeremy Beiler at 7pm
Thursday 1/8 – Fred Weller at 9pm
Friday 1/9 – Laverne Cox at 7pm / Reggie Watts at 10pm
Saturday 1/10 – Larisa Oleynik at 7pm / Pablo Schreiber at 10pm

Monday 1/12 at 5:30pm Christopher Abbott – SOLD-OUT
Tuesday 1/13 at 8pm – Lachlan Patterson Comedy
Wednesday 1/14 at 8pm – Tom Lipinski
Thursday 1/15 at 9pm – Josh Pais
Fri 1/16 – Michael Chernus at 7pm / Charlie Carver at 10pm
Sat 1/17 – Anson Mount at 7pm / William Jackson Harper at 10pm

 

 

RIDE ON THEATRE is a collective of theatre practitioners – performers, directors, musicians, designers and technicians. Ride On’s vision is the creation of theatre that draws upon and expands the vitality of our medium. The premise of the work is to bring a potentially disasterous idea to manifestation and see what comes of it. If it works – it becomes a show.
 
Ride On was founded in 2003 by NIDA graduates Bojana Novakovic and Tanya Goldberg. Their theatrical collaboration has led to productions all over Australia and numerous Green Room and Sydney Theatre Award nominations.
 

 

Coming Soon.

 

 

Parkside Lounge is located on the Lower East Side of Manhattan and is accessible by the F, J, Z, 6, M, B, and D subways. This well-known region is home to the Tenement Museum and the New Museum of Contemporary Art. Parkside Lounge sits one block from Bowery Street, where visitors can find the Bowery Ballroom – an alternative music venue which features live music every night of the week. The Clinton Street restaurant row is only three blocks east of the theater and is complete with pizzerias, tapas restaurants, and local bars.

 

 

The Blind Date Project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body and Australian Consulate-General New York.