World-renowned as a theremin virtuoso and an innovative multi-instrumentalist, composer Eric Ross collaborates with video artist Mary Ross to present an engrossing concert of avant-garde sounds and sights—by turns hypnotic, lyrical, even fiery—including their recent Boulevard d’Ronstructie (Op. 54).
The quarterly series devoted to experimental performance offers adventurous audiences an interdisciplinary mix of new works and works-in-progress by some of the city’s freshest voices. This edition of Studio was curated with guest curators Charles O. Anderson and Deborah Oliver, and features works by Brandon Alter, Karen Anzoategui, Emily Beattie and Jonathan Snipes, Moira Macdonald, Gabriela Garcia Medina and Jordan Saenz.
Rose Lowder is one of Europe’s most influential and celebrated cinematic treasures—with more than 50 films that create complex single-frame matrices, bordering eerily on the edge of animation. The program includes the early masterwork Rue des Teinturiers (1977), along with more recent works.
Twenty-three years after its premiere, Trinh T. Minh-ha’s film remains a post-colonial classic, tackling issues of translation and untranslatability: from a Vietnamese transcript of half-spoken voices recorded at night to the French publication of these interviews, to their re-translation into English.
In this unprecedented celebration of composer Raymond Scott’s polymorphic career, former Oingo Boingo guitarist Steve Bartek and his bandfind new takes on his scores for cartoons, while composer Ego Plum’s ensemble re-envisions Scott’s farsighted electronica.
The venerated annual music festival signs off in style, with works by four masters of the electro-acoustic idiom. The program features solo trumpet by creative music luminary Wadada Leo Smith “overlaid” on a fixed electro-acoustic composition by SCREAM founder Barry Schrader, and much more.
External constructions and interior depths map this evening of new writing. Bridges and secret passageways, couplings and customs, private speech and public gestures and the multiple biomythic “I,” all collude to create affective and spectral relations between place and persona.
Rough-hewn, quavering, soulful song accompanied by a single drum is the musical hallmark of p’ansori, the centuries-old Korean folk opera style that has enjoyed a resurgence in recent decades. Singer Bae Il-Dong and drummer Kim Dong Won are among the finest contemporary practitioners of the art.
This powerful re-staging of THEM, an incendiary work of dance theater that premiered in 1986,won a coveted Bessie Award for “bringing an intensely visceral exploration of male identity in the time of AIDS to life with beauty, power, conviction and passion.” Conceived and directed by Ishmael Houston-Jones.
With Reconversão (Reconversion), Thom Andersen opens another fascinating chapter of his ongoing investigation of architectural landscapes, their filmic representation, and their relation to history, by focusing on 17 buildings and projects by the Portuguese architect Eduardo Souto de Moura.
Hailed by critics around the world as a major theatrical event of historic proportions, Gatz is a bravura feat celebrated for its singular and dazzling literary alchemy. Gatz is not a retelling of the The Great Gatsby, but a revelatory, seven-hour enactment of experiencing the novel, as F. Scott Fitzgerald’s American masterpiece is delivered word for word, brought to life with absolutely startling dramatic effect by a cast of 13.
Rhode Island-based artist Tony Cokes’ Retro (Pop, Terror, Critique) is an ambitious new multichannel video installation that surveys the past 15 years of his work. Since the mid-1980s, Cokes has employed the medium of video to borrow and sample materials from high and low culture and reveal how race, gender and class are perceived through “representational regimes of image and sound.”