«The Kitchen Center for video, music, dance, performance, film, and literature Winter 2016 Season Winter 2016 “From Minimalism into Algorithm” ...»
2005. Hamilton has released 15 CDs of his own music; his CD London Fix received an award in the Prix Ars Electronica, and a 2-CD set of his electronic music of the 1970s was named one of The Wire’s Top 50 Reissues of 2010. Hamilton was the co-director of the 2004 Sounds Like Now festival, and he co-produced the Cooler in the Shade/Warmer by the Stove new music series for 14 years.
David Moodey has collaborated with Robert Ashley since 1999, most recently designing for the remounting of Ashley’s That Morning Thing at The Kitchen and Crash at the Whitney Museum of American Art and Roulette. He is the principal designer and production manager for Molissa Fenley, Robert Ashley, and the Joffrey Ballet School, NYC. His design for Fenley’s State of Darkness earned him a Bessie award for lighting design. He has also designed and toured numerous shows for Paul Lazar and Annie-B Parsons and their company, Big Dance Theater; for David Neumann’s feedforward at Dance Theatre Workshop; and for Peter Boal’s three seasons at the Joyce Theater in New York. He is a member of the United Scenic Artists, Local 829 as well as the International Alliance of Theatrical Stage Employees, Local One.
Maura Gahan is a freelance dancer, puppeteer and painter. She has been combining dance, puppetry and objects in performance since 2000, while earning a BFA in Dance Performance and Choreography with minors in Art and Theater from Ohio University. For over ten years, Gahan has worked with Peter Schumann’s Bread and Puppet Theater touring Europe, Asia and North America building and performing with puppets, masks, music, clowning, opera and choreographing street dances. In 2008 she collaborated with Schumann to transform Lubberland National Dance Company into a touring, community-based political dance form. Gahan began studying Steve Paxton’s Material for the Spine in 2010 and Lisa Nelson’s Tuning Score in 2012. Gahan also works for Vermont Fish and Wildlife while living in the mountains of Vermont.
Jurij Konjar was born in Ljubljana in 1978. He trained in judo and practiced singing from an early age, then began dancing in ballroom competitions. In 2007 he suffered a head injury that shifted the focus of his work towards the potential of the present moment. An in-depth observation of Steve Paxton’s Goldberg Variations video triggered what became an ongoing improvisation practice. He has been working with Paxton since 2010.
Robert Ashley (1930-2014), one of the leading American composers of the post-Cage generation, is particularly known for his work in new forms of opera. In the 1960s, during his tenure as its director, the ONCE Festival in Ann Arbor presented most of the decade’s pioneers of the performing arts. With the legendary ONCE Group, he developed his first large-scale operas. Along with Alvin Lucier, Gordon Mumma and David Behrman, he formed the Sonic Arts Union, a group that turned conceptualism toward electronics. Throughout the 1970s, he directed the Center for Contemporary Music at Mills College, and produced his first opera for television, the 14-hour Music with Roots in the Aether, based on the work and ideas of seven influential American composers. In the early 1980s The Kitchen commissioned Ashley’s Perfect Lives, the opera for television that is widely considered the precursor of “music-television.” Quicksand is produced by Performing Artservices, Inc. and is presented by The Kitchen.
Taking place in The Kitchen theater and gallery spaces throughout the 2015–2016 season, “From Minimalism into Algorithm” sets contemporary and historical painting, sculpture, performance, and musical composition in counterpoint, proposing a new through-line for artmaking during the past half century. Organized collaboratively by The Kitchen and participating artists, the exhibition takes up the legacy of Minimalist art and composition during the 1960s and ’70s as a precedent for reconsidering work by a younger generation for whom serial repetition corresponds more directly with digital technology and, moreover, its reconfiguring of our encounters with physical space through networked communication.
The Kitchen gallery space will be open until 7pm on all performance evenings to view the exhibition “From Minimalism into Algorithm” in the second floor gallery. Additionally, in conjunction with Quicksand, Mary Lucier’s video installation The Trial, which uses documentation footage of Robert Ashley’s The Trial of Anne Opie Wehrer and Unknown Accomplices for Crimes Against Humanity will be on view in The Kitchen lobby.
Winter 2016, continued The Glenn Branca Ensemble DD Dorvillier The Third Ascension Extra Shapes February 23 at 7pm and 9pm, February 24 March 25-26, 8pm; March 26, 5pm; March at 8pm. $25. 28-29, 8pm. $15.
Glenn Branca conducts The Third Ascension, a Extra Shapes is a performance for lunging fignew world premiere for guitar, bass, and drums ures, a musical concert for loudspeakers, and a with Reg Bloor, Arad Evans, and Owen Weaver. light show. Created by DD Dorvillier, in collaboraThis piece is the latest development of Branca’s tion with composer Sébastien Roux and lighting influential 1981 work The Ascension, in which designer Thomas Dunn, Extra Shapes occupies he experiments with resonances generated by a rectangular space divided into three horizontal alternate tunings for multiple electric guitars. bands, featuring sound in the front, light in the middle, and dance in the back. Picture a slice Andrew Ondrejcak of Neapolitan ice cream with its three separate ELIJAH GREEN bands—strawberry (sound), vanilla (light), March 10-19. 8pm. $20. chocolate (movement)—then rotate the plate to Andrew Ondrejcak continues work on an adapta- view each of its sides. In Extra Shapes, the idea tion of influential Swedish playwright August is to present the three mediums simultaneously Strindberg’s A Dream Play. The play presents the but separately, and to propose a new way of scenario of a divine visitation into the contem- experiencing and thinking about abstraction in porary tedium of the everyday human. Despite a live situation. Organized by Matthew Lyons as unremarkable existences, the characters’ stories part of “From Minimalism into Algorithm.” layer and culminate in a portrait of the interconnectivity of all humans, with each individual both the center of the world and part of something they cannot comprehend.
The Kitchen gratefully acknowledges the following Individuals, Foundations, Corporations, and Government Agencies for their support as of October 2015