Oct 29, 2015

Choreographer and artist Ralph Lemon will be premiering Scaffold Room at The Kitchen on October 30th, 2015. Please visit our event page for the live performance schedule. Ralph Lemon’s intellectually rigorous practice as it is understood and celebrated today may be said to have arisen from his break with habitual structures of dance making—and, more specifically, from the disbandment of his successful modern dance company in 1995. In his subsequent practice, a desire to examine his own history alongside his charged, personal engagement with the social and political quickly materialized. Accompanying this desire is an emphasis on interdisciplinarity, especially given his expansive background as a choreographer, dancer, writer, and visual artist. Described by Lemon as a “flexibl... Read On

Oct 19, 2015

Singer-songwriter Glasser uses her music to explore the symbiotic potential of organic and digitally-developed sounds, producing compositions that have been characterized as both icy and ethereal. Glasser’s most recent project Charge addresses the tension between social access and physical distance latent in new technology and social media. Charge turns the human body itself into a source for material, finding and distorting the rhythms of the artist’s own breath in a performance that functions as an “intimate yet exotic embrace.” In advance of the opening of Charge at The Kitchen on October 23, Glasser reflects on the expression of this investigation of the synthetic and the real in her recent work and in her collaboration with artist Jonathan Turner. Nicole Kaack: In a 2013 LA ... Read On

Aug 18, 2015

Choreographer koosil-ja and her collaborator Geoff Matters spoke with Assistant Curator and Archive Manager Katy Dammers about their new piece I am capitalism premiering at The Kitchen this fall. They consider the origins of this work and its place within koosil-ja’s long history at The Kitchen. Katy Dammers: What brought you to consider capitalism in this piece? Koosil-ja: Over the past ten years, looking for my identity was the driving force behind my work, and I wasn’t really going anywhere with it. Then I read Gilles Deleuze and felt an opening. He thinks being is a process and identity is a crappy concept, because it puts our existence inferior to the idea that exists before us. He opened me up to a new plateau. While I was searching for the meaning and name of my existence, my... Read On

Aug 17, 2015

On the evening of November 3, three days before the 1984 presidential election between the incumbent President Ronald Reagan and former Vice President Walter Mondale, Republican candidate Reagan made a grand appearance on the New York City skyline. Or rather, his hand did, extracted from an image of him swearing the Pledge of Allegiance. This disembodied appendage was projected onto the North and West facades of the AT&T Long Lines Building at Thomas Street and Broadway in a spectacle designed by Krzysztof Wodiczko and realized through the institutional support of The Kitchen. Although The Kitchen functioned most frequently as a performance venue and exhibition space, the services provided in anticipation of the November 3 projection indicate The Kitchen’s effort to expand its prese... Read On

Aug 10, 2015

The acclaimed And That’s How the Rent Gets Paid by Jeff Weiss & Richard C. Martinez was presented at The Kitchen on July 14-16. Director Brooke O’Harra spoke with Curatorial Intern Kayla Fanelli about the thrilling and complex experience of reengaging this long-running, serial work. Kayla Fanelli: When did you first encounter And That’s How the Rent Gets Paid? Brooke O'Harra: I first encountered Jeff Weiss as an individual, not the serial drama. I moved to New York in 1999 and immediately started doing work at The Club at La MaMa. The Club is curated by Nicky Paraiso, who is a really close friend of Jeff’s and performed with him for twenty-five years. Nicky was one of the first people to perform with Jeff in And That’s How the Rent Gets Paid and Hot Keys. My company, The Theatr... Read On