Jan 24, 2018

Historically speaking, the cultural importance of The Kitchen has revolved at least in part around its very obscurity. In other words, the platform exists precisely to propel work that resists easy definition, and the artists working here—throughout the organization’s nearly five-decade existence—have frequently embraced an all-too-uncommon opportunity to engage and escape at once the fixed parameters typically associated with any institutional or disciplinary framework. (As one artist has said of The Kitchen’s profile during the 1970s and 1980s, “It was great because no one could say what it was.”) Yet such a legacy and mission occasionally makes the task of presenting the work of artists particularly fraught—especially when it comes to those woven most deeply into the fabric of the or... Read On

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... Read On

Dec 20, 2017

At the end of each year, it's humbling to step back and recognize what amazing works artists have created at The Kitchen. In our gallery, think of a generation-defining video installation by Meriem Bennani or all-night loft party by Martin Beck; radical new choreography and staging by Jen Rosenblit and Geo Wyeth; open theater and feminist ethos of Kristina Satter and Half Straddle; incisive survey of social life after the Internet by Cory Arcangel and Olia Lialina; and the humming and stretched sculptures of Aki Sasamoto. Onstage, remember the sparklers and exploding glass vases of John Armleder and Christian Marclay; or Raúl de Nieves and Colin Self's magical opera as allegorical journey; and then Adam Pendleton celebrating Black Dada with the SugarTone Brass Band; or Sarah Michels... Read On

Dec 14, 2017

In a one-night performance at The Kitchen, Volumes for Sound: Voice, experimental vocalists and performers Tatyana Tenenbaum and Odeya Nini will collaborate in improvisational interaction with Melissa Dubbin and Aaron S. Davidson’s acoustic sculptures Volumes for Sound. We speak with the artists ahead of the performance about these collaborations, taking the opportunity to “work in parallel” as a means of “collective knowledge building.” Volumes for Sound: Voice will take place on Saturday December 16, from 7pm and is organized by second-year graduate students at the Center for Curatorial Studies, Bard College. Tatyana Tenenbaum & Odeya Nini How did you come to movement and voice as your primary media? Tatyana Tenenbaum [TT]: I entered my awareness as a dancer while st... Read On

Nov 17, 2017

When you ask me if I’m a feminist  I say to hell with loneliness To hell with powerlessness Yeah there are people in positions of power But so many more left in drudgery Photo Credit: Crosby Harrison. Artists from left to right: Ana da Silva, Anne Wood, Gina Birch. This November, Ana da Silva and Gina Birch of The Raincoats returned to The Kitchen after creating their first and only live record here in December 1982. Since then, they’ve toured across the world, broken up, gotten back together, been invited to play with Nirvana, switched out band members and worked on solo projects. Though their music inspired a generation of artists at the forefront of punk, they received little recognition during their time in the United States in the 1980s. Broke and st... Read On