Apr 6, 2016

This week The Kitchen is pleased to present the North American premiere of Joan Jonas’s acclaimed work They Come to us Without a Word II , which premiered at the Teatro Piccolo Arsenale in conjunction with her exhibition for the US Pavilion at last year’s 56th Venice Biennale. Jonas has had a long relationship with The Kitchen, presenting many of her early video pieces here in the early 1970s and later performing several major works, including most recently Lines in the Sand: Helen in Egypt (2004). In 2012, we honored Jonas at our annual gala in celebration of her pioneering work in video and performance. They Come to us Without a Word II features new compositions by Jonas’s longtime collaborator Jason Moran, as well as a live performance by Kate Fenner. Jonas is joined onstage by si... Read On

Mar 16, 2016

It is with great excitement that we announce the launch of The Kitchen's Store , an easy one-stop-shop for our limited editions, CDs, totebags, and catalogs.  Inspired by the innovative show posters that The Kitchen first produced during the 1970s and '80s, our Limited Edition Program commissions new work to accompany performances, exhibitions, and galas taking place each season. Proceeds from sales of these unique prints and posters will support artists at The Kitchen during the year ahead. Pieces are currently available by Richard Prince, Stephen Prina, and Raymond Pettibon, with a new edition by Jacob Kassay to be released soon.  Plus, on the occasion of the US premiere of legendary artist Joan Jonas's performances with Jason Moran, They Come to us Without a Word II, &#1... Read On

Mar 14, 2016

Curatorial Fellow Alessandra Gomez and Andrew Ondrejcak discuss ELIJAH GREEN at The Kitchen. Alessandra Gomez: Can you briefly describe ELIJAH GREEN in your own words? Andrew Ondrejcak: ELIJAH GREEN is a landscape play. The protagonist is an invisible spirit that shape-shifts through various people during the performance, living through a variety of human experiences. AG: Your work reflects moments of communal time, interwoven by human foibles and strangeness. For instance, there was a very sensual and intense moment between Stuart Singer and his laptop, accompanied by a monumental build-up of techno dance music. Although the scene was dominated by Stuart’s intense panting and the weighted beat of the dance music, my attention shifted to Meg Harper. She was facing away... Read On

Feb 26, 2016

On the US premiere of their latest work, For Claude Shannon , Liz Santoro and Pierre Godard spoke with Curator Matthew Lyons. Having worked together for the last five years, Santoro and Godard continue their investigations taken up in the previous work, Relative Collider , on the relays between movement and text, the neurophysics of attention and presence, and the transfer of information or communication in performance. Matthew Lyons: How did you begin developing this new work, coming off of the previous work, Relative Collider? Pierre Godard: The first impetus for the new piece was to reverse the process that took place in Relative Collider, using movement structures to compose a text and then injecting variability in the text material, yet with a very similar desire to find new... Read On

Feb 1, 2016

The Kitchen is fortunate to have had a long history with the composer, trombonist, and scholar George Lewis; he first performed here in 1979, and then took on the role of Music Curator from 1980-1982. During this time, he programmed such seminal artists as Julius Eastman, Douglas Ewart, Julius Hemphill, Joan LaBarbara, Jackson Mac Low, Eliane Radigue, and many more. As part of our “From The Kitchen Archives” CD series on Orange Mountain Music, Lewis curated The Kitchen Improvises: 1976-83; on February 9th, Lewis will perform at The Kitchen alongside those who appear on the CD, including Thomas Buckner, Earl Howard, Oliver Lake, Michael Lytle, in addition to improvisers of a different generation. In conversation with Kitchen curator Lumi Tan, Lewis shares his recent projects and reflects... Read On