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Today's #BreakLunch

By The Kitchen

Feb 17, 2017

During the past month, The Kitchen has been proud to present Cory Arcangel and Olia Lialina’s “Asymmetrical Response,” an exhibition that takes up not only the ambiguous character of contemporary media—questioning, in effect, the levers of power and flow of information within the Internet’s historical apparatus—but also, and as important, the fundamental value of simple dialogue among people today. As much as Cory and Olia’s exhibition offers an incisive account of social structures and behaviors as they are shaped by digital technology, it is also a record of a decades-long conversation between two people with common interests. By committing to such continuing dialogues, whether in art or life, the most remarkable observations can be made—and the most lasting collective goals accompli... Read On

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Plans for January 20

By The Kitchen

Jan 19, 2017

Dear Friends, Describing The Kitchen’s very beginnings, founders Woody and Steina Vasulka once recalled how an informal gathering among like-minded individuals devoted to video quickly grew into a venue for artists of all stripes, working in music, dance, performance, literature, and art: “Basically, The Kitchen became a place for everybody who didn’t have a home.” It’s something casually said, yet with incredible implications. Such a premise extends to the fundamental concept of nonprofit and alternative organizations as they came into being during the past half century: that there is a living need for institutions whose very existence is defined through our recognizing, accommodating, and sustaining the value of diversity and difference. And this idea continues to guide the organizat... Read On

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The Kitchen announces its Winter 2017 season!

By The Kitchen

Dec 13, 2016

Dear Friends, The Kitchen is proud to announce its Winter 2017 season, which presents remarkable new works and premieres by artists from New York and around the world. Opening the year, Philippe Quesne’s singular La Mélancolie des dragons makes its New York debut (January 10–14), featuring a band of travelers whose car breaks down in the forest, prompting them to create a heavy-metal-themed amusement park. Also in January, artists Cory Arcangel and Olia Lialina collaborate on their exhibition, “Asymmetrical Response,” which traces the Internet’s cultural shift from a military technology to a platform for the free exchange of information, and, finally, the ambiguous “content delivery system” we know today. And Paulina Olowska teams with choreographer Katy Pyle and composer Sergei ... Read On

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From the Archives: We Interrupt this Program

By Samantha Rose Kohl

Oct 26, 2016

“To turn our private grief at the loss of friends, family, lovers and strangers into something public would serve as another powerful dismantling tool. It would dispel the notion that this virus has a sexual orientation or the notion that the government and medical community has done very much to ease the spread or advancement of this disease.” - David Wojnarowicz in October, 1989 Still from We Interrupt this Program (1991), directed by Charles Atlas and produced by Robin Schanzenbach, Mary Ellen Strom and Barbara Tsumagari in conjunction with The Kitchen and Visual AIDS. Pictured: Lucy Sexton of DANCENOISE. By 1991, New York was rocked by AIDS. Many artists recall that it seemed one either knew-someone or knew-someone-who-knew-someone who had died of the epidemic. Lucy Sexton ... Read On

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We Have Always Been Digital

By Illya Szilak

Aug 29, 2016

If we define “analog” as a continuous variable which has no “truth” function, no negative, and no zero, and, “digital” as information composed of discrete values or states, then, moving from analog to digital requires not merely difference, but distinction. One is not equal to zero, human is not equal to machine, and there is nothing in between. Moreover, in so far as language involves digitizing our analog experience, whether we scratch a word on a stone tablet or “process” it with software, we have always been digital. In We Have Never Been Modern , Bruno Latour argues that modern civilization has secularized rituals of purification to create boundaries between “nature” and “culture,” “human” and “thing,” even as we construct hybrid systems that mix politics, art, technology, and bi... Read On

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