#COIL13 | Performance Space New York

Amidst (The Painted Bird II)

Admist (The Painted Bird II)
Pavel Zuštiak / Palissimo (USA)

Haunting images interface with a cast of three, juxtaposing the past and present, real and virtual, as a constant shifting illusion at the intersection of dance, visual art, and live music. The audiovisual elements engulf the audience, who is invited to make their own choices about where to experience the work. Blurred lines of presence and absence, memory and disappearance cannot possibly all be consumed. Amidst is the middle part of The Painted Bird and fittingly focuses on nostalgia as a place of entrapment on a journey “home.”

“It’s worth losing your bearings for a while in the enigmatic atmosphere of this high-art haunted house.”
The New York Post

60 minutes

In memory of Jason Bingham Noble (1971–2012)

Jan 12 5pm
Jan 13 3pm
Jan 14 8pm
ADDED PERFORMANCE
Jan 14 3pm

Performance Space 122: 150 1st Ave., Manhattan

$20 / $15 students, seniors
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Award winning choreographer Pavel Zuštiak is the Producing Artistic Director of Palissimo Company, established in New York City in 2004 under his vision to pursue artistic liberty through communion with live audiences. Palissimo is known for sophisticated, multidisciplinary works with piercing emotional content and abundant surrealist imagery that explore “the darker shades of human behavior” (The New Yorker). Born in the former Czechoslovakia and trained at the School for New Dance Development in Amsterdam, Zuštiak’s relocated to the U.S. in 1999. He has won the prestigious 2007 Princess Grace Award, 2009 Princess Grace Residency Award, received the 2010 Guggenheim Fellowship, a 2010/2011 NEFA: National Dance Project Award, a 2013 Alpert Award nomination (his second to date) and was named an ambassador of KOŠICE 2013, European Capital of Culture. Zuštiak’s most recent 4+ hour trilogy project The Painted Bird (Bastard/Amidst/Strange Cargo) brought together co-producer/co-presenters La Mama, Baryshnikov Arts Center, Performance Space 122, Wexner Center and Stanica-Zilina. Deborah Jowitt of the Artsjournal called the trilogy “extraordinary,” The New York Times as “searing,” while the Financial Times as “earning its emotional extremity with tenderness and quiet.”
Zuštiak currently resides in New York City.

Palissimo, an adventurous dance theater company from New York, is re-mounting its enigmatic and atmospheric Amidst of the Painted Bird during 2013 COIL Festival. Choreographed by Pavel Zuštiak, Palissimo’s Czechoslovakian-born artistic director, The Painted Bird is inspired by a classic and controversial novel of the same name by Polish-born author Jerzy Kosiński. The allegorical novel tells the story of a young boy making his way through war-time Eastern Europe and a brilliantly painted bird that is violently killed by its own flock, which mistakes it for an imposter. Zuštiak’s ambitious, emotionally charged project excavates the tale’s themes—identity, otherness, displacement, and transformation—in three uniquely staged performance events. His approach integrates dance, video, and visual projections with live music composed by Christian Frederickson (a former member of the acclaimed chamber rock band Rachel’s) and Ryan Rumery and Jason Noble. As a New York Times reviewer observed, “Essentially, Zuštiak has created a roomful of outsiders. That sensation of being on the outside looking in…along with the live score, gives jolts of spooky energy. There is the sense that, with The Painted Bird, he has found his material, and will be mining it for a long time to come.”

Concept/Direction/Choreography Pavel Zuštiak
Original Music Christian Frederickson, Jason Noble, Ryan Rumery
Performed by Lindsey Dietz-Marchant, Nicholas Bruder, Pavel Zuštiak
Live Music Performed by Christian Frederickson, Tim Iseler, Ryan Rumery
Photography Robert Flynt
Video Design Keith Skretch
Lighting Design Joe Levasseur
Costume Design Nick Vaughan
Dramaturgy A .P. Andrews
Touring & Production Management Elizabeth Moreau

The Painted Bird trilogy is a co-production of Palissimo Company, Wexner Center for the Arts, La MaMa, Baryshnikov Arts Center, PS122, Stanica-Zilina (Slovakia), Grotowski Institute (Poland). Amidst was developed and supported during a residency at BAC (NYC) with financial support from the Princess Grace Foundation—USA. Further funding was provided by the John Simon Guggenheim Memorial Foundation, Greenwall Foundation, the Mertz Gilmore Foundation, the National Endowment for the Arts, and Jerome Foundation. Production design support was provided by The Edith Lutyens and Norman Bel Geddes Design Enhancement Fund, a program of the Alliance of Resident Theatres/New York (A.R.T./New York). Funds for the composers’ commission and musicians’ fees were provided by the American Music Center Live Music for Dance Program. Amidst was also made possible through subsidized studio space provided by the A.R.T./New York Creative Space Grant, supported by the Andrew W. Mellon Foundation, and by Lower Manhattan Cultural Council’s Swing Space program provided by a real estate donation from Capstone Equities. Additional presentation support from Mertz Gilmore Foundation, Harkness Foundation for Dance and Jerome Robbins Foundation.

SACRE

SACRE
David Wampach / Association Achles (France)

The 1913 premiere of Nijinsky’s The Rite of Spring caused legendary scandal and has since been regarded as a milestone in dance history. French dancer / choreographer David Wampach draws inspiration from filmmaker Jean Rouch and photographer Trude Fleischmann, as he radically re-imagines Nijinsky’s group choreography into a duet. Wampach’s pioneering SACRE is equally as earthy, wild, and dissonant as the original.

“Breathtaking” Danser Magazine

“Brilliant Wampach” Montpellier Gazette

45 minutes

Co-presented with The Invisible Dog Art Center with additional support provided by Chez Bushwick

Jan 10 – 11, 14 7:30pm
Jan 13 5pm

The Invisible Dog Art Center: 51 Bergen St., Brooklyn

Free with reservation

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In 2002, David Wampach started his company: the Association Achles, where he revealed himself as one of the most trailblazing young choreographer of France. His solo circon c is (2004) won the first prize at the Biennale des jeunes créateurs d’Europe et de Méditerranée. High-profile performances such as BASCULE (2005), QUATORZE (2007), AUTO (2008) and BATTEMENT (2009) ensued (note that Wampach always capitalizes his titles). The choreographer is now also making waves internationally. He was laureate of the famous Villa Kujoyama programme in Kyoto and, unique for a non-commercial dance, his SACRE piece is sponsored by cosmetics giant Hermès.

Raw minimalism and abstract eroticism characterize Wampach’s work, as does a form of skillful emotional extremism. He admires conceptual makers, but finds it equally important to engage in dialogue with the canonical tradition and pop culture. A different work he made is CASSETTE (2011), based on the legendary masterpiece Nutcracker, using ballroom dance.

Curiosity for other art disciplines is a recurrent theme in Wampach’s artistic development. He collaborated with novelists and filmmakers. At the moment, the choreographer is working on his first film RITE, an echo of SACRE.

The Invisible Dog Art Center opened in October, 2009, a raw space in a vast converted factory building with a charmed history and an open-ended mission: to create, from the ground up, a new kind of interdisciplinary arts center. Over the last two years, over 50,000 people have attended our events: visual art exhibits; dance, theater, and music performances; film screenings; literary arts and poetry readings; lectures; community events; and more.

Long-term collaborations with artists are integral to The Invisible Dog’s mission, which is to create not only a new kind of art center, but also a new kind of artistic community.
The Invisible Dog brings together artists of all career stages, offering them unique opportunities for involvement. Over the last two years, the art center has evolved organically, developing with and alongside its diverse roster of collaborators.

Neither a commercial gallery nor a concept-driven non-profit, The Invisible Dog has a unique role in the New York arts scene. It has become a place where artists working in all media can do things they wouldn’t be able to do anywhere else in New York. The Invisible Dog’s core values of experimentation and collaboration are kept in view throughout the curatorial process, and as a result, our artists are freer and more autonomous than is typical.

The building at 51 Bergen Street is integral to The Invisible Dog’s identity. Built in the late 1800s, the 30,000 square-foot building housed working factories until the 1990s, when the last factory shut down, and the detritus from 100 years of industry was left to rot. The building was unused until 2008, when it was discovered by Lucien Zayan. The last factory, which made belts, had a hit in the 1960s with the “invisible dog” party trick, which gave the nascent art center its name.

The Invisible Dog Art Center is located in Boerum Hill, Brooklyn and is accessible by the F and G subways. This cool and calm region on the northwest side of Brooklyn is home to roughly 20,000 residents. Invisible Dog Art Center sits one block from Dean Street and two blocks from Atlantic Avenue, both boasting a plethora of bars and restaurants.

Boerum Hill claims a trendy stretch of Smith Street as its own, and small cafes and stores are dotted throughout the neighborhood’s interior, like the restaurant Building on Bond and the Brooklyn Circus boutique. On Fourth Avenue, bars like Cherry Tree and Pacific Standard have sprung up. There are also two Vietnamese sandwich shops. The New York Times

Choreographer David Wampach
Performers Tamar Shelef and David Wampach
Sound Designer Mikko Hynninen
Stage Manager Gaëtan Lebret
Artistic Collaborators Chiara Gallerani, Johanna Korthals Altes, Enora Rivière, Mark Tompkins and Christian Ubl

Co-produced by Festival Montpellier Danse, Centre national de la danse – Pantin, Centre Chorégraphique national de Franche-Comté à Belfort with support from Fondation d/entreprise Hermés, Tanzquartier – Wienn and adc – Generva, Modul-dance programme, Ménagerie de Verre for Studiolab. Additional help provided by Centre Chorégraphique National Montpellier Languedoc-Roussillon, CNDC, and Centre national de Danse contemporaine d’Angers. L’Association Achles receives the support from Direction Régionale des Affaires Culturelles Languedoc-Roussillon, Région Languedoc-Roussillon, Ville de Montpellier. Additional presentation support from Réseau en scène Languedoc- Roussillon within the framework of the collaboration between the Institut français and Région Languedoc- Roussillon, Mertz Gilmore Foundation, Harkness Foundation for Dance and Jerome Robbins Foundation, Office of Cultural Affairs, Consulate General of Israel, NY.

Inflatable Frankenstein

Inflatable Frankenstein
Radiohole (USA)

Influenced by James Whale’s Frankenstein films, Radiohole explodes the tumultuous and tragic life of Mary Shelley. Blood chilling and completely strange, Inflatable Frankenstein is brimming with whims, technological absurdity, and bodily fluids. A larger-than-life, Radiohole gothic teen sex dream. With Maggie Hoffman, Eric Dyer, Erin Douglass, Joseph Silovsky, and Mark Jaynes. Also introducing The Creature Without Organs.

“Deliriously entertaining”
The New York Times

“The leading innovator in New York’s third wave of avant-garde theater”
Time Out New York

60 minutes

Co-commissioned & presented with The Kitchen

Jan 5 – 6, 10, 12, 17 – 19 8pm
Jan 11 10pm
Jan 13 – 14 6pm

The Kitchen: 512 W. 19th St., Manhattan

$20 / $16 students, seniors
Purchase Tickets
thekitchen.org

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Radiohole was birthed in a Brooklyn basement in 1998 by Erin Douglass, Eric Dyer, Maggie Hoffman and Scott Halverson Gillette. The company has produced ten original shows that have been presented at venues around New York City including PS122, the Kitchen and the Collapsable Hole (sic) and have toured nationally and internationally. Radiohole’s most recent show, “Whatever, Heaven Allows” was commissioned by PS122, The Walker Art Center and the Andy Warhol Museum through the Spaulding Gray Award. “Whatever, heaven Allows” had it’s European premiere in April 2012 at Katapult Teater at Godsbanen in Århus, Denmark. Over the years, Radiohole has earned a reputation as one of New York’s most tenacious and uncompromising ensembles.

Radiohole is a recipient of the Spalding Gray Award, and has appeared at PS122 with Whatever Heaven Allows and Fluke.

The Kitchen is a non-profit, interdisciplinary organization that provides innovative artists working in the media, literary, and performing arts with exhibition and performance opportunities to create and present new work. Using its own extensive history as a resource, the organization identifies, supports, and presents emerging and under-recognized artists who are making significant contributions to their respective fields as well as serves as a safe space for more established artists to take unusual creative risks.

The Kitchen is located in Chelsea, Manhattan and is accessible by the A, C, E, L and 1 subways. This historic region on the west side of Manhattan is home to the High Line, the Chelsea Historic District, the Fashion Institute of Technology and is an international shopping and art gallery destination. The Kitchen sits one block from the Hudson River, close to 10th avenue where audiences can pick from a plethora of restaurants scattered between 15th and 19th streets. Chelsea Piers is also one block from the theater and is a waterfront sports village hosting an abundance of bars, restaurants and shopping.

More than 100 art galleries have sprouted in west Chelsea, a part of the neighborhood that was industrial until only a few years ago. A once-decrepit stretch of Ninth Avenue between 19th and 21st Streets now has a cozy French ambience, with La Bergamote patisserie, La Cafetiere housewares and Le Gamin Cafe. Since opening on Ninth Avenue in 1997, Chelsea Market’s fishmongers, butchers, bakers and greengrocers have been welcomed by area food shoppers. The New York Times

Performed and Created by Maggie Hoffman, Eric Dyer, Erin Douglass, Joseph Silovsky, Aaron Harrow and Mark Jaynes
Video Design Aaron Harrow
Lighting Design Laura Mcoczkowski
Sound Design James L. McElhinney
Inflatable construction & co-design Romanie Harper
Programmer Ryan Holsopple

Co-commissioned with support from PS122, The Kitchen and the Jerome Foundation. This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in Partnership with the city council. Inflatable Frankenstein is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Additional production support and residency is provided by EMPAC (Experimental Media and Performing Arts Center).

Seagull

Seagull (Thinking of you)
Half Straddle / Tina Satter (USA)

Writer/director Tina Satter draws on Chekhov’s letters, translations, and perverse sense of comedy to consider anew the darkness, beauty, and history of Chekhov’s iconic play The Seagull and its resonances with her Half Straddle ensemble. Seagull (Thinking of you) is a personal look at performance, failure, and attempted love — ultimately an unexpected meditation on why we ever try to say something out loud. With a Russian folk metal-influenced score.

“Full to the brim with killer talent … launching a particularly coordinated goal-line drive to a new feminist form”
Time Out New York

“If you think experimental, deconstructionist experimental theater must be dry and dreary, then Half Straddle has a surprise for you.”
The New York Times

75 minutes

Commissioned by PS122, co-presented with The New Ohio Theatre

Jan 9, 11, 17, 19 8pm
Jan 10, 12, 18 10pm
Jan 15 5pm
Jan 22, 23, 25 8pm
Jan 26 2pm
Note: JUST EXTENDED!
Jan 14, 8:30pm – Join Tina Satter & Chris Giarmo for a pre-show vodka tasting
Jan 22, 23, 25 8pm
Jan 26 2pm

New Ohio Theatre: 154 Christopher St., Manhattan

$20 / $15 students, seniors
Purchase Tickets
sohothinktank.org

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Half Straddle is a New York-based company that makes plays, performances, videos and music written and directed by Tina Satter. The company includes composer Chris Giarmo (Big Dance Theater), designer Zack Tinkelman (Sarah Michelson, The Kitchen), and performers Jess Barbagallo, Eliza Bent, Emily Davis, Erin Markey and Julia Sirna-Frest. A number of additional performers and artists including Annie McNamara, Joseph Keckler, Pete Simpson, Susie Sokol and others have joined Half Straddle in creating their shows and performances.

New Ohio Theatre is a two-time OBIE Award-winning performance venue that serves the vast independent theatre community of New York and the adventurous audiences who love them. As a small, downtown, artist-run organization (with a 20+ year history as a beacon for bold and inventive work), we know the challenges and rewards of producing and presenting alternative, non-commercial theatre. In any given year, there are over 500 independent theatre companies working for opportunities to develop and present their work. We believe the best of this community operates at the core of the contemporary aesthetic conversation (in terms of both content and form) and acts collectively to expand the boundaries of the public imagination. With the opening of our new space, we aim to establish a professional, high-profile platform that reestablishes the West Village as a destination for mature, ridiculous, engaged, irreverent, gut-wrenching, frivolous, sophisticated, foolish, and profound theatrical endeavors.

The New Ohio Theater is located in Greenwich Village, Manhattan and is accessible by the 1, A, C, E, B, D, F, M subways. This famous region on the west side of Manhattan is home to Washington Square Park, New York University, Cooper Union, St. Marks Place and a host of independent film houses and Off-Broadway theaters. The New Ohio Theater sits one block from Hudson River Park, close to Hudson Street where audiences can pick from a plethora of restaurants scattered between the New Ohio and Bleeker Street. Christopher Park is three blocks from the theater, surrounded by a variety of bars hosting live music every evening.

Aside from untold numbers of shopping and dining options, there are plenty of neighborly activities…for recreation-seekers without memberships to the area’s multiple gyms, the Hudson River and its well-traveled waterside trails are a short walk away. The New York Times

Performed by Eliza Bent, Becca Blackwell, Emily Davis, Julia Sirna-Frest, Susie Sokol, Jess Barbagallo
Set Designer Andreea Mincic
Lighting Designer Zack Tinkelman
Composer/ Sound Designer Chris Giarmo
Production Manager Liz Nielsen
Stage Manager Randi Rivera
Costume Designer Enver Chakartash

Made possible with commissioning support from PS122 and Jerome Foundation. Developed in residences at MASS MoCA (December 2012), the New Museum (September/August 2012), and Abrons Art Center (April 2012). Early stages of the work were shown at Prelude Festival (October 2011).

Ruff

Ruff
Peggy Shaw (USA)

Peggy Shaw has always had a host of crooners, lounge singers, movie stars, rock and roll bands, and eccentric family members living inside her. Ruff is a tribute to those who have kept Shaw company over the last 68 years, a lament for the absence of those who disappeared into the dark holes left behind by her recent stroke, and a celebration that her brain is able to fill the blank green screens with new insight.

“Truculent and funny, swaggering and sensitive, Shaw is extraordinary.”
The Times of London

“Shaw’s obsession with bones, with origins and what lies at our core is what drives a powerful hour of deeply personal probing… I sincerely urge you to spend an hour in the hands of a genius.”
Edinburgh Festival Magazine

“Exquisite… This is open-heart surgery of the artistic kind, performed without anaesthetic.”
The Guardian

60 minutes

Commissioned by PS122 & Out North Contemporary Art House, co-presented with Dixon Place

Jan 10, 16, 17, 19 7pm
Jan 11, 18 10pm
Jan 12 6pm
Jan 15 9pm

Dixon Place: 161-A Chrystie St., Manhattan

$20 / $15 students, seniors
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SPLIT BRITCHES was founded by Peggy Shaw and Lois Weaver, together with Deb Margolin (veterans of Hot Peaches and Spiderwoman Theater), in 1981 at NYC’s WOW Cafe. Shaw and Weaver have become known for “a long line of smart, thrillingly well-executed performance pieces” (Katherine Dieckmann, The Village Voice) and “tough intellectual and verbal content (John Hammond, The Native). Peggy Shaw has received Obie Awards for Dress Suits for Hire (1987) and Menopausal Gentleman (1999). Split Britches won two more Obies for ensemble acting in Belle Reprieve (1991), a collaboration with Bloolips that was a reversed-gender version of A Streetcar Named Desire. Shaw and Weaver also create solo shows; You’re Just Like My Father, Menopausal Gentleman and Faith and Dancing (Shaw); Mapping Femininity And Other Natural Disasters, What Tammy Needs To Know… and Diary of a Domestic Terrorist (Weaver). Split Britches is currently touring with their newest productions: Miss America and Lost Lounge. ( www.splitbritches.wordpress.com)

Peggy Shaw is a recipient of the Ethyl Eichelberger Award and has appeared at PS122 with To My Chargrin, and as a part of The 30th Anniversary Season Gala.

Dixon Place is a non-profit organization founded in1986 to provide a space for literary and performing artists to create and develop new works in front of a live audience. While other venues of its kind have since died off, or now only present established artists, Dixon Place remains at the heart of the New York experimental performance scene. Taking risks is crucial to the life of Dixon Place, its artists and audiences.

Dixon Place’s primary commitments are to bring artists and audiences together through live performance in order to expand the understanding of the creative process and its final product, and to provide a supportive environment for emerging artists to present new work. Over the years, Dixon Place has successfully maintained its intimate atmosphere and unique environment while increasing its programming to fulfill the need for performance opportunities for the New York community of performing and literary artists.

Dixon Place 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. Dixon Place 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.

Writer/Performer Peggy Shaw
Co Writer/Director Lois Weaver
Composer and Sound Design Vivian Stoll
Choreographer Stormy Brandenburger
Set and Media Design Matt Delbridge

Made possible in part by commissioning support from PS122, the Ethyl Eichelberger Award, and Out North Contemporary Art House (Anchorage, AK) outnorth.org, with funding generously provided by the Gesso Foundation, and was developed in part with support from The MAP Fund, a program of Creative Capital supported by the Doris Duke Charitable Foundation, the Andrew W. Mellon Foundation and residencies at Dixon Place and La MaMa.