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A Conversation with Mike Iveson

By Matthew Lyons

May 13, 2016

This week The Kitchen presents the world premiere of Mike Iveson's The Tear Drinkers, a suite of sci-fi songs for six performers. It follows four humans who have been abducted by the United States government and brought to an underground holding tank in New Mexico, so that the government can determine which of them is actually an alien from another planet masquerading as an earthling. A beloved fixture in the experimental performance community, Mike mounted his first full-length play with music, Sorry Robot , as part of PS122’s COIL Festival in January 2015. He has composed music for various choreographers and playwrights including Sarah Michelson, Sibyl Kempson, Mia Chung, DANCENOISE, and Kate E. Ryan, and has worked as a performer with companies as varied as Elevator Repair Service, ... Read On

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A Conversation with Ed Atkins

By Nicole Kaack

Apr 29, 2016

The Kitchen’s gallery has become a site of presentation and continued propagation for Ed Atkins’ Performance Capture . The audio-visual work derives from a script written by Atkins, which was subsequently performed by 130 participants in a CGI rig at the 2015 Manchester International Festival. Over the duration of its exhibition at The Kitchen, the piece will continue to expand, incorporating sound and video from gallery performances by Okkyung Lee, Ches Smith, Ben Vida, Graham Lambkin, Bob Bellerue, Marcia Bassett, Matthew Regula, C. Spencer Yeh, and Ed Atkins himself. Curatorial intern Nicole Kaack and artist Ed Atkins discussed the original development of the project and its ongoing transformation through performance. Nicole Kaack: Performance Capture seems so based in the ... Read On

Joan Jonas, They Come To Us Without A Word Ii, 2015.     Photo Moira Ricci B

A Conversation with Joan Jonas

By Katy Dammers

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

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The Kitchen Store Launch

By The Kitchen

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


On Transformation: An Interview with Andrew Ondrejcak

By Alessandra Gomez

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

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