Aug 28, 2018
For decades at The Kitchen, artists have challenged habits and convention through art, reweaving and reorienting our culture–often while bringing together, with a nearly utopian impulse, under-recognized histories and the most urgent contemporary issues.
This season is no exception, opening with a solo exhibition by Chitra Ganesh, who takes up turn-of-the-century social reformer Begum Rokeya Sakhawat's sci-fi novel Sultana's Dream (1905) to reimagine the roles of the individual and the collective during periods of societal turbulence. Following Ganesh in our gallery will be a video and sound installation by Jibade-Khalil Huffman engaging the legacy of black music as a tool of resistance and, as pointedly, considering how societal conditions often ask for a performance of identity even while undermining it through systems of oppression.
Similarly, Trajal Harrell returns to The Kitchen with the premiere of Caen Amour, a wry reimagining of the hoochie koochie–an erotic dance popularized by the Syrian performer Little Egypt during the 1890s–that seeks to discover, in Harrell's words, "forms of creative resistance between the cracks of history."
And Tourmaline and Sasha Wortzel organize an immersive screening of their acclaimed film Happy Birthday, Marsha!, which portrays iconic performer and activist Marsha P. Johnson as she might have been in the hours before the 1969 Stonewall Riots, featuring a live score by Geo Wyeth along with other special performances.
In music and performance, nora chipaumire premieres her three-part work #PUNK 100% POP*NIGGA, conceived as a live performance album inspired by chipaumire's formative years in Zimbabwe during the 1970s and after, and channeling the sonic ideologies of punk, pop, and Congolese rumba. Later, multidimensional composer and percussionist Tyshawn Sorey provides the broadest overview of his oeuvre to date with three evenings of intergenerational collaborations and ritual works featuring his percussion cage, conduction, and a newly-formed ensemble that integrates spoken word, turntablism, and spontaneous composition.
In addition, Morgan Bassichis presents evenings of duets with guest artists such as Malik Gaines and Mariana Valencia; London musician and producer Leon Vynehall debuts his multimedia performance Nothing is Still, while Eli Keszler celebrates the release of his album Stadium; Leila Bordeuil unveils her newest composition for amplified cello and six double basses; Argentinian artist Liliana Porter presents a new theatrical production questioning the conventions of perception, co-directed with Ana Tiscornia as part of Porter's survey at El Museo del Barrio; and choreographer Moriah Evans takes such reorientation to the stage itself in her latest piece, titled Configure.
We cannot wait to see you at all these performances and others, including our continuing L.A.B. series, where so many of these artists will gather for conversations toward new relationships between art and audiences.
Image: Chitra Ganesh from Her garden, a mirror, 2018.