Jan 3, 2018
Every year, The Kitchen presents artists whose works are uniquely, often provocatively resonant within contemporary culture – challenging our understanding of art and, as important, of social convention. In fact, they continually change our sense of both, creating the possibility for a new relationship to develop between the two in turn.
Our winter season is no exception to this rule. January alone opens with Jim Findlay’s Electric Lucifer , a rock opera (featuring Okwui Okpokwasili) based on the iconic album by 1970s electronic composer Bruce Haack that revolved around the fraught idea of redemption – and more pointedly, as Findlay notes within our current social context, around the question of how “we can redeem even the worst of ‘us’” in order to “rise above our ‘hate and pain and fear’ and move toward a real redemption.”
Next, The Kitchen is proud to present a landmark overview of composer Julius Eastman, a gay, African-American artist who was active during the 1970s and ‘80s (and a critical figure at The Kitchen during those years), but who died homeless at the age of 49, leaving an incomplete but compelling and increasingly influential collection of scores and recordings. Titled “That Which Is Fundamental” and curated by Tiona Nekkia McClodden and Dustin Hurt (of the Philadelphia-based Bowerbird), the project features four major concerts at The Kitchen and Knockdown Center; special performances by Molissa Fenley and Jeremy Toussaint-Baptiste ; and an exhibition of rarely-seen archival materials along with works by a new generation of artists seen in conversation with Eastman’s legacy, including Yulan Grant, Carolyn Lazard, Shawné Michaelain Holloway, Sondra Perry, and many others.
Following will be a new theatrical production by artist Marianna Ellenberg, Pawel & Ebola , which follows a dysfunctional brother and sister duo whose world is disrupted by the arrival of a bizarre cult named “The Method.” As Ellenberg explains, the work’s fragmented narrative and hybridized language convey a world torn between the precarity of global capitalism and the institutionalized misogyny of the 19th century that provides the piece with its setting.
In February, Camae Ayewa/Moor Mother – the first winner of The Kitchen’s Emerging Artist Award, sponsored by Philippe Starck – will appear with an exhibition and performances based on her second solo album, Analog Fluids of Sonic Black Holes, and investigating, in Ayewa’s words, the idea that every shadow has a history.
The season then concludes with the return of some of the most important artists of our time with long-standing relationships with The Kitchen, including Claire Chase and the next segment of her continuing Density 2036 Project ; Constance DeJong and Tony Oursler’s reprisal of their spoken text and video work from 1989, Relatives ; and, finally, Composers inside Electronics celebrating the 40th anniversary of their first appearance at The Kitchen with works spanning the range from self-built analog instruments to the most recent digital technologies.
We can’t wait to see you here for all these amazing works, and we will look forward to being part of a new culture with you that energizes, talks back, and connects in 2018.