segunda-feira, outubro 31, 2011

Electronic Propinquity

Electronic propinquity refers then to electronic proximity, or electronic nearness, or electronic presence. Here it should be noted that electronic propinquity is not synonymous with
communication although it may appear as such. One can have a WATS Line and a potential set of relationships and still not communicate. Electronic propinquity allows for the possibility of communication, but isn't communication itself.
Propinquity is, of course, a variable: one can be more or less far or near somebody else. One can be close in voice, and far in image. One can be close in image and voice, and far in touch and smell (and taste if you will). Respectively, these values of propinquity would correspond roughly and not exhaustively to, for example, the following media: the telephone and video-phone.

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happy halloween...

on gender issues

All men are homosexual, some turn straight. It must be very odd to be a straight man because your sexuality is hopelessly defensive. It's like an ideal of racial purity.
-- Derek Jarman

quinta-feira, outubro 27, 2011

nearly 90

one of the set designers: Annie Kwon las night ARTALKed at Culturehub

duck sauce

sexta-feira, outubro 21, 2011

LOST - Online Project

LOST - Online Project (a collaboration project between Flávio Rodrigues & Daniel Pinheiro)


Things have got awfully tidy recently. There is a lot of finish on things. Clingfilm gloss and the neatest of hospital corners. The formula merchants are out in force. They are in the market for guaranteed product. They go out looking for film-makers with the nous of one who might consider employing halogen spotlights in the hopes of attracting wild cats into a suburban garden. They are missing the point. Don’t they know the roulette wheel is fixed? That the croupier is a cardsharp? Do these people not watch old movies? It’s the spirited that hold the hands in the long run, it always was – the low-key for the long term, the irreverent, the cheats, the undaunted and inspired rule-breakers, not the goody-goody industrial types with their bedside manners and managerial know-how…

I have always wholeheartedly treasured in your work the whiff of the school play. It tickles me still and I miss it terribly. The antidote it offers to the mirror ball of the marketable – the artful without the art, the meaningful devoid of meaning – is meat and drink to so many of us looking for that dodgy wig, that moment of awkward zing, that loose corner where we might prise up the carpet and uncover the rich slates of something we might recognise as spirit underneath. Something raw and dusty and inarticulate, for heaven’s sake.

- From “Letter to an Angel,” a remembrance by Tilda Swinton at The Guardian

Derek Jarman @ Fandor

quinta-feira, outubro 20, 2011

mic checking since 1967


The traders in stocks and bones shriek for New Frontiers—but the coffins return to the Bronx and Harlem. Bull markets of murder deal in a stock exchange of death. Profits rise to the ticker tape of your dead sons. Poison gas RAINS on Vietnam. You cannot plead “WE DID NOT KNOW.” Television brings the flaming villages into the safety of your home. You commit genocide in the name of freedom.


If unemployment rises, you are given work, murderous work. If education is inferior, you are taught to kill. If the blacks get restless, they are sent to die. This is Wall Street’s formula for the great society!

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human condition

quarta-feira, outubro 19, 2011

Angels of Swedenborg

(Footage: Lindsey Medeiros | Video Editing: Daniel Pinheiro | Supervisor: Billy Clark)

Angels of Swedenborg | A dance theatre work by Ping Chong - Performed by LaMaMa’s Great Jones Repertory Company


Justin Vivian Bond

Ping Chong & Mia Yoo

Diane Lane

LaMAMA 50th Anniversary Gala - October 17

The downtown experimental theatre company La Mama etc honors Pulitzer Prize-winning playwright Sam Shepard with the first-ever Ellen Stewart Award, named in honor of the late La MaMa founder, Oct. 17 in the Ellen Stewart Theatre.

Shepard, whose early works were nurtured by Stewart at La MaMa, is being celebrated during the company's 6:30 PM gala. As part of the recognition, Shepard will also select a young theatre artist to create a new work to be presented and produced at La MaMa.

The honor is presented "to an artist who embodies the courage and pioneering spirit that Ms. Stewart encouraged at La MaMa, an artist who carries on her ideal of challenging conventional theatrical boundaries and expanding our understanding of human potential." Stewart died Jan. 13 at age 91.

The gala promises entertainment from actors and writers with ties to La MaMa, including Wallace Shawn, Estelle Parsons, John Kelly, Justin Bond, Scott Wittman, Taylor Mac and Elizabeth Swados. (read more)

sexta-feira, outubro 14, 2011

new music

An Open Letter to Heterosexual Americans

On Sunday, September 18, 2011, Jamey Rodemeyer took his own life at the age of fourteen. Earlier this year he had participated in the It Gets Better Project, but just a week before the suicide, he wrote “I always say how bullied I am, but no one listens. What do I have to do so people will listen to me?” It didn’t get better for Jamey, and he’s not alone. While the focus of many anti-bullying campaigns has been to empower LGBTQ youth and create community around them, I think it’s time for ALL Americans to make it better.
In my early teens, much before I became comfortable with my gender and sexual identity, I found myself being bullied. Because I was young, confused, and vulnerable, I found it very difficult to defend myself, so I know the important role courageous peers and responsible adults play when facing down bullies. When we are reminded of the vicious behavior of some children toward those considered different, we “different” adults see it as our responsibility to respond with education, therapy, hotlines, and activism. But what is needed to create real change is real action on the part of our heterosexual citizenry. After all, these are your children who are driving other kids to suicide. Where are they learning that it’s “okay to hate”? In part, young people are learning that it's "okay to hate" by pushing boundaries and getting away with it. Isn't that what young people do —test boundaries? Why are they forbidden to chew gum in class yet they are allowed to torture their LGBTQ classmates? We've come to an understanding that smoking should not be allowed and have given teachers the moral authority to stop it; we’ve made it illegal to sell cigarettes to minors because we recognize that it’s harmful to their health. But the number of deaths from LGBTQ bullying is mounting. When will the deaths of these children be recognized as an imperative to make change now?
Parents and educators are allowed, even forced sometimes, to be passive in the face of shameful and outrageous behavior on the part of their charges because they have had their own hands tied by legislators and a "moral" minority who claim to represent "our” values. But remember, the civil rights movement would not have been nearly as effective if white people hadn’t joined with African Americans to create the necessary changes to end institutionalized racism. It should not only be the responsibility of the LGBTQ community to protect certain youth. It is time for YOU to stand up for and be accountable to all America's children. Not only LGBTQ children, but all the children who are forced to live in a world of unnecessary cruelty and also—maybe even more importantly— to the bullies who are being allowed to destroy their own chances at happiness by passive adult bystanders. It is time for all Americans to come together and end homophobic and transphobic language, and to take action to protect the childhoods of ALL of our children, not just some.

Yours truly,
author of Tango: My Childhood, Backwards and in High Heels

quinta-feira, outubro 13, 2011

neverendingstory @ The Performing Garage

Cuqui Jerez - The Rehearsal as part of the Fiction & Non Fiction

"The curtain rises and we see the fiction within the fiction within the fiction within the fiction. The curtain falls."
—Cuqui Jerez

Cuqui Jerez, presented last night her new work Cuqui Jerez - The Rehearsal. A dress rehearsal for a story that never develops into nothing more than just what we foresee at the first surprise. Sometimes remembering my previous work “PERFIL ADEQUADO”, Jerez&Co. talk about the creative process as this neverending loop of ideas that sometimes the Artist doesn’t know how to put an end to it creating a messed up process of creation that sometimes leads to a never ending, or never starting point. Although during the whole process there’s an attempt to denie theater by covering it with the “contemporary performance techniques” well know since the 60’s and 70’s this collaboration project is a showcase of the adequate profile some of this performers have in terms of acting and that’s valid if they were actually accepting it as it was shown and not just a justified unconscious act of non-acting which brings the audience to laugh as if it was a stand-up comedy show with jokes that are not – in my opinion – the questions that are raised. The ‘neverending’ is understandable, and not having an answer to define where and when the end begins is also pertinent, but is this loop of actions continuously leading the creative process towards an infinitude of other roads and paths (that will, due to time, lead to possible ends) that are, as sometimes is shown in this piece, so boring that one has nothing more to do than just make it even more boring by yawning at it. In the overall the show took almost two hours to reach somekind of end (that kind when the audience leaves the room) and during that amount of time I just wished that the road had been a little bit more insecure, that the improvisation took a determinant role on having the performers ‘naked’ in front of an audience actually fighting to get to that unknown END.

Cuqui Jerez stays until next Saturday, Oct,15 at The Performing Garage - Wooster St. (7.30PM)

But the berkshires are where my heart is...

Sit here on the stairs and listen to the nighttime as the daylight fades away
Such a haunting and familiar tune, when I hear it in the distance i can say that I'm home

Where my daughters and my wife, they wait for me all alone
But the truth is it's where I always am, it's where I long to be
Because I am home

The north shore is where my father lives, I wear my red sox hat around the world with pride
But the berkshires are where my heart is and when i see them in the distance i could cry because I'm home

Where my daughters and my wife, they wait for me all alone
But the truth is it's where I always am, it's where I long to be
Because I'm home
Where my hero teaches classes everyday and where my friends don't treat me different
It's where my family is, it's where I'll always stay
Because I'm home

Aaron Lewis - Massachusetts

those were the days

“It's the place where my prediction from the sixties finally came true: "In the future everyone will be famous for fifteen minutes." I'm bored with that line. I never use it anymore. My new line is, "In fifteen minutes everybody will be famous."”

Andy Warhol's Exposures (1979) commenting on the nightclub "Studio 54", and his world famous quote.

looink into old NY


Shane O’Shea:

I knew the real escape was right across the river, but I didn’t had a car… Even though New York was 3 miles away, it seemed like another world.

A guy named Steve Rubell had a dream: To throw the best damned party the world had ever seen and to make it last forever. He built a world where fantasy was put up as reality and where an 80-year-old disco queen could dance till dawn. Where models mingled with mechanics, plumbers danced with princes. It was a place where all labels were left behind. A place where there were no rules.

254 West 54th Street

In those days New York was the place to be. Studio 54 was the hottest place in town, everybody wanted to be seen there.
Being here I feel a ghostly feeling that it still can be that place to be. People come here because they want it to be here. People leave their countries, families to follow the dream of living in New York. Watching the “concrete jungle” as a temporary visitor there’s something, a magnetic field of energy that impels you to want to be here. The thrive of the people, the rush, the traffic, the never-ending range of possibilities, the feeling that “If you make it here, you’ll make it anywhere”… What if you don’t? What if because of all of this global togetherness this is no longer the place to be? We no longer pay attention to the star system as is used to be… They were untouchable; they existed in a place where it was almost impossible to be near one of them. They were part of a dream that has been brought down by so many other conquests, that numbed the society to a point where there’s no place ‘far across the bridge’ that is so impossible to reach, that is in fact so unattainable specially with all of that we want to build to allow that interconnectivity in a world wide range. Of course this is not for everyone, of course that utopic dream that everyone is in fact connected and can have access to everything at the same time it’s not going to happen… What intrigues me more about this city is that ghostly presence of a past that still lives on, and that is nurtured by the whole world that makes this city what it is. And sometimes I feel they don’t value that they are the one’s making it as it is and instead they look for something else that some of them are already doing. The whole world is here. There is no time. Things change. But you always have New York.

terça-feira, outubro 11, 2011

pop culture: countdown

Anne Teresa de Keersmaeker press declaration:

Like so many people, I was extremely surprised when I got a message through Facebook about the special appearance of my two choreographies – Rosas danst Rosas (1983) and Achterland (1990) in Beyoncé’s new videoclip Countdown. I was asked if I were now selling out Rosas into the commercial circuit...
When I saw the actual video, I was struck by the resemblance of Beyoncé’s clip not only with the movements from Rosas danst Rosas, but also with the costumes, the set and even the shots from the film by Thierry De Mey. Obviously, Beyoncé, or the video clip director Adria Petty, plundered many bits of the integral scenes in the film, which the videoclip made by Studio Brussel by juxtaposing Beyoncé‘s video and the Rosas danst Rosas film gives a taste of. But this videoclip is far from showing all materials that Beyoncé took from Rosas in Countdown. There are many movements taken from Achterland, but it is less visible because of the difference in aesthetics.
People asked me if I'm angry or honored. Neither, on the one hand, I am glad that Rosas danst Rosas can perhaps reach a mass audience which such a dance performance could never achieve, despite its popurality in the dance world since 1980s. And, Beyoncé is not the worst copycat, she sings and dances very well, and she has a good taste! On the other hand, there are protocols and consequences to such actions, and I can't imagine she and her team are not aware of it.
To conclude, this event didn't make me angry, on the contrary, it made me think a few things.
Like, why does it take popular culture thirty years to recognize an experimental work of dance? A few months ago, I saw on Youtube a clip where schoolgirls in Flanders are dancing Rosas danst Rosas to the music of Like a Virgin by Madonna. And that was touching to see. But with global pop culture it is different, does this mean that thirty years is the time that it takes to recycle non-mainstream experimental performance?
And, what does it say about the work of Rosas danst Rosas? In the 1980s, this was seen as a statement of girl power, based on assuming a feminine stance on sexual expression. I was often asked then if it was feminist. Now that I see Beyoncé dancing it, I find it pleasant but I don't see any edge to it. It’s seductive in an entertaining consumerist way.
Beyond resemblance there is also one funny coincidence. Everyone told me, she is dancing and she is four months pregnant. In 1996, when De Mey‘s film was made, I was also pregnant with my second child. So, today, I can only wish her the same joy that my daughter brought me.
Anne Teresa De Keersmaeker October 10th, 2011

you'll always have something written in your forehead

segunda-feira, outubro 10, 2011


Keren Cytter, Video Art Manual (still), 2011. HD video. 14 minutes 42 seconds.

As in Keren Cytter’s previous work, “Video Art Manual” strings together clichéd, Freudian-tinged narratives with a bad case of ADHD. Comprising four videos and a series of peripheral drawings, “Video Art Manual” is the stuff masochistic art critics live for: as soon as one eye rolling-worthy moment passes, such as a misogynistic character announcing his unprecedented hatred of both ducks and women (they way the talk, the way they walk!), Cytter blasts off with another libidinal oddity, laboring her viewers to glean any sense of comprehension from her work. (Read More)
by Karen Archey

Manhattan, Chapter One.

Chapter One. He was scared of New York City. He felt it all out of his proportion. (--) He-he… was diminished by the proportion of it. Now… to him… for the time being this town existed in frames and pulsated to the great tunes of New Pop and Gershwin’s. (--) Chapter One. He started to feel romantic thrived in Manhattan – sometimes – between the hustle… bustle of the crowds and the traffic. To him, New York meant beautiful people who seemed to know all the angles. (--)
Chapter One. He was, in New York City. To him, the city, was a metaphor for the decay of the contemporary culture. The same lack of individual integrity to cause so many people to take the easy way out, “I hate my life” I would hear constantly, turning the town of his dreams in… (--)
Chapter One. He was in New York City, although to him, it could be a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, television, crime, garbage… (--)
Chapter one. He was in New York. Behind the scared look on his face, which was fading slowly into a more confident and pleasurable one, was the coiled power of a jungle cat. New York was his town. And from then on it would always be.

declare interdependence

domingo, outubro 09, 2011


East Village Rooftops, January 26, 2011 - Terry Richardson's Diary

sábado, outubro 08, 2011

back to WALL ST

news |

at the Bethesda Fountain…

related to this

RIP Steve Jobs (1955 - 2011)

@ Soho Apple Store

read more

sexta-feira, outubro 07, 2011

Accumulation at Dancer Crush by Brandi Norton

Dance cannot exist without the dance design: choreography. 
But dance is the dancer. – Susan Sontag

DANCER CRUSH @ New York Live Arts
(Curated by Carla Peterson with Annie B-Parson)

Steven Recker and People Get Ready
Nikki Zialcita
Arturo Vidich
Ishmael Houston-Jones
Jodi Melnick
Brandi Norton
Heather Olson
Holley Farmer
Leah Coc
David Newman

quarta-feira, outubro 05, 2011

NY always wanted to fly to Paris...

segunda-feira, outubro 03, 2011


"Poems is Yvonne Rainer’s first collection. The legendary artist wrote about 30 of them over the course of a year, as she has mentioned in her memoir Feelings Are Facts. Somehow unwaveringly private yet resistant to narrative, the poems’ distaste for abstraction or even remotely decorative language is a testament to Rainer’s respect for poetry’s inherent integrity as a form already telling. The poem “December 28, 1999 Flamingo Lodge, FL,” the sole piece chosen for print in her memoir, reads like early Rae Armantrout—albeit, paradoxically, less fragile and axiomatic:

I am as heavy
with foreboding
impervious to the light
as the sound
of one palm frond scraping

“Oh, that’s just another pelican”

Thoreau said
“If I could,
I would worship
the parings of my nails.”

(read more here)

about being in NY

New York City is not just a place to live, it is a character in our lives. With its energy, chaos, creativity and passion, the city offers endless opportunities to reinvent, create and discover. And for performing artists, living in New York City means being in the center of the action.


Have you ever moved to a different city to make your work? What influenced your decision?

David Cote said:
I moved to NYC in 1992 after college to make theater. I’ve been tempted over the years to find a smaller city with a higher standard of living, but can’t bear the thought of leaving New York. Plus, I don’t think I could maintain this dual status of critic/artist in a different city.

Melissa said:
I moved from Staten Island to Williamsburg, Brooklyn in 2009 (the height of the recession). I moved to be closer my “community” but felt more removed than ever. I spent a year working numerous jobs, dancing hard, and feeling so completely disenchanted with “city life”! After time on Martha’s Vineyard, one of the most beautiful places I’ve been to, I returned to my “city-pastoral” (Staten Island) with no looks back.

Arlette said:
Yes, I grew up in Dominican Republic and came here after high school. I come to NY because I wanted to be an artist and here I had all the possibilities to be anything I wanted to be. New York was and still is the center of the art world.

Line said:
Yes. I wanted to immerse myself fully into “the work.” I needed to reinvent myself and the work. I also needed a frame of work, which is often location-based for me.

Mary said:
I moved back to St. George in 2011 to paint full time. Within 3 years I was supporting myself on sale of my art. I would never have dared to dream that - so I just did it.