For a while now I’ve been having–every so often–dreams that feature Ann Liv Young. Well, three dreams, to be exact.
These started, as far as I can surmise, shortly after my first writing on Ms. Young’s work.
The central anxiety of these dreams–and they are always anxious dreams–balances precariously on a paradigmatic axis of whether or not Ann Liv Young likes me.
This state, I suppose, is a state of my reality. I do not know Ms. Young personally. While we may share mutual friends and acquaintances, we have never communicated directly. So I don’t know what Ms. Young feels toward me other than what I have experienced at her performances, which, unlike almost any other performance work today, make it a chief concern to deliver to the audience a packaged bundle of various fields of regard Ms. Young either does or does not have for them.
The only two pieces of information I have to evince what Ms. Young may or may not feel about me is miniscule, but perhaps telling.
After publishing that first article, I realized that I should probably have given Ms. Young a “heads up,” since the highly sensitive issue–that of a child’s welfare–and my calling into question the constitution of her work as “art” necessarily implicated Ms. Young as having performed a non-artistic act against a child that may be deemed by some as neglect. So I sent Ms. Young an email, using the address found on her website at the time, alerting her about the piece. I have never received a response from Ms. Young either to that email or to any of the pieces I have written about her work since.
Second, and possibly related, hearsay.
A friend of mine went to one of Ms. Young’s “Christmas” shows, which she held at her home last winter. I dared not go myself: 1. I was busy, 2. Because I don’t like to be terrorized during performances, and 3.) Because I really wasn’t sure how Ms. Young would respond to my presence, should she even know who I am.
Nevertheless, my friend went, and I asked him, afterward, what his experience had been like. After reporting some predictable activities (people getting naked, obnoxiously loud music), my friend said he had a brief conversation with Ms. Young, afterward, in which she mentioned to him, “Some people think I’m a bad mother.” Continue reading
Since we have a focus on the body today, I thought it would be a good idea to post this Beyonce video sent to us by a dear C.C. friend and fan, BP. The video is hot for at least two reasons.
One, it shows just how much we can accomplish with a simple idea and professional execution.
Two, and more importantly, it puts to bed the tired notion that dance just can’t be captured well on film.
Watch and wonder…
Among the many exciting new music events that have sprung up in NYC over the past few years, DARMSTADT, a concert series curated by Nick Hallett and Zack Layton, is one of the coolest. Avant garde classics are mixed on the turn tables, as well as performed live by some of the best contemporary music performers around.
Well, tonight, DARMSTADT is launching its first ever “festival” (their quotes) at Issue Project Room in Brooklyn, presenting six concerts over five days. Definitely check out at least one of these.
Tomorrow night (Thursday, 8pm), yours truly will be interpreting a fluxus score by Emmett Williams. So come check it out, and, as always, feel free to criticize the critic.
If you haven’t yet been introduced to the world of Fluxus, now’s a good time to start. The evening will also include works by Nam June Paik, Yoko Ono, Joseph Byrd and Tony Conrad.
DARMSTADT presents Essential Repertoire
ISSUE Project Room in the (OA) Can Factory
232 3rd Street (at 3rd Ave), Brooklyn
performances at 8pm unless noted otherwise
tickets: $10 advance (available at Other Music and online) / $15 at door
If, like C.C., your head is exploding with all the political chatter bouncing around the TV news and the interweb, then hightail it tonight to Christian Rizzo and I-Fang Lin’s untitled dance piece at the Center for Performance Research (CPR), the joint venture between John Jasperse and Jonah Bokaer.
Girlz, I-Fang Lin’s cool demeanor, delicate precision, and ability to make it look like she has three or four separate bodies, WILL CLEANSE YOUR PALATE and leave you refreshed and ready to dive into the last five weeks of this intense presidential campaign.
There’s also a pretty sweet installation by Rizzo and Caty Olive, some video, and a modest photo exhibition of dancer portraits by Peggy Jarell Kaplan. All of this is in conjunction with FIAF’s Crossing The Line Festival.
It’s free, but make a reservation ahead of time.
You might even get to say high to Mr. Jasperse as he mans the front door.
TONIGHT IS THE LAST NIGHT (Saturday, Sept. 27)
L’Association Fragile / Christian Rizzo
With I-Fang Lin & Caty Olive
CPR-Center for Performance Research @ Greenbelt
In Association With Crossing the Line: FIAF Festival 2008
361 Manhattan Avenue (@ Jackson)
Brooklyn, NY 11211
Free Admission By Reservation Only:
Original songs by Ryan Tracy
(Ryan will be singing, dancing, monologuing, and even playing the piano!)
Featuring Chris Woltmann on guitar
Assistant Director, Jeremy Laverdure
I think it’s hilarious that this is today’s top clicked post!
You’re all a bunch of horny bastards, and I love you for it.
Keep ‘em spreading, Roddick. And good luck with Rodgie tomorrow. To say you’re really going to need it is like, the understatement of the universe.
Although I guess it’s encouraging that our Mark Morris review is riding in at a close No. 2.
Ok, ok. We know you’ve been waiting for it. So we’ll get it over with.
Here’s the problem with a film like I Now Pronounce You Chuck and Larry: The essential problem that undermines any attempts the script makes to convert viewers to have a more accepting awareness of homosexuality, no matter how many times or ways it tries, is that Gay marriage is still illegal in every state but one. If you think it doesn’t matter, try this on for size.
What would we think now of a film that, before Brown Vs. The Board of Education, depicted two white people who dressed themselves up as black people to get into a black-only school to take advantage of the limited scholarships and programs that the school had to offer? Probably not very highly.
A movie similar to this came out in the 1986, if you remember it. Continue reading
Today, look out for a sweet–and semi-professional–preview of Lincoln Center Festival’s Four Spanish Plays series.
Otherwise, we’ll try to get up to our usual counter-criticism tactics.
Let the terrorizing begin! (It’s okay to terrorize critics, right?)