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The Kitchen's Winter 2015 Season

Posted by:	Official_Press_Release 05:22 pm EST 11/21/14

THE KITCHEN ANNOUNCES WINTER 2015 SEASON INCLUDING: World Premiere of Writer/Director Tina Satter and Her Company Half Straddle's Coming of Age Play, Ancient Lives (January 7–17) Group Exhibition No entrance, no exit with Anna K.E, Alina Tenser, Viola Yeşiltaç (January 13–February 21) New Installments of The Kitchen’s Live Electronic Music Series, Synth Nights, with Ben Vida (January 21), Eli Keszler (February 11) and Morton Subotnick (March 4) Acclaimed Novelist Sheila Heti’s Play All Our Happy Days Are Stupid, U.S. Premiere with Music by Dan Bejar (February 19–28) Video Artist Charles Atlas in Conversation with Douglas Crimp (March 2) Artist Anicka Yi Transform The Kitchen’s Gallery Into a Forensic Site with You Can Call Me F (March 5–April 11) Playwright/Director Richard Maxwell Takes His Work to New Sculptural Place on Stage in The Evening (March 12–28) Since 1971, The Kitchen has served as an important catalyst for a broad community of groundbreaking artists working across disciplines—a mission uniquely attuned to contemporary efforts by artists and arts institutions alike to collaborate and generate new contexts for the continuing evolution of multi-disciplinary art. In fact, as a smaller-scale organization, The Kitchen is unique today for providing artists of both emerging and established statures with a hot-house environment for the presentation and discussion of their work. The Kitchen seeks to foster a vibrant, living dialogue among artists from every field and area of culture. The institution’s winter 2015 season, January 7–December 13, exemplifies this commitment. The winter season opens on with the world premiere of Ancient Lives (January 7–17) by playwright and director Tina Satter and her Obie-award winning company Half Straddle. Developed while in residency at The Kitchen, Satter’s seventh full-length piece is a dynamic coming of age play rendered with live music score and video. A particularly rich season of theater continues with the U.S. premiere of All Our Happy Days Are Stupid (February 19–28) by New York Times bestselling novelist Sheila Heti. Declared “unstageable” by the Toronto theatre company who commissioned the work, the play, in a co-presentation with McSweeney’s Publishing, includes original music by Dan Bejar (The New Pornographers, Destroyer) and features an eclectic company of artists lead by director Jordan Tannahill. Award-winning playwright and director Richard Maxwell closes the winter season with the New York premiere of The Evening (March 12-28), an innovative exploration of the sculptural possibilities of form and language on stage. A diverse group of female artists will enliven The Kitchen’s 2nd floor space with two stellar exhibitions. The group exhibition No entrance, no exit (January 13–February 21) features the work of Anna K.E, Alina Tenser and Viola Yeşiltaç – three singular artists who each carry a personal relationship to performance. In For You Can Call Me F (March 5– April 11), artist Anicka Yi will transform The Kitchen’s gallery into a forensic site. Yi will look at society’s growing paranoia around contagion and hygiene (both public and private) with the enduring patriarchal fear of feminism and potency of female networks. Synth Nights, The Kitchen’s series of live electronic music, continues with composer Ben Vida (January 21), who examines the connectivity between machine derived and spoken rhythms; composer and multi-instrumentalist Eli Keszler (February 11), who pushes performance towards installation in his concert; and pioneering electronic composer Morton Subotnick (March 4), best know for his iconic 1976 work Silver Apples of the Moon. On March 2, The Kitchen is pleased to host a discussion, lead by Douglas Crimp, with video artist and filmmaker Charles Atlas in celebration of his new, self-titled book, which spans four decades of the pioneering artist’s career. Of the upcoming season, Executive Director and Chief Curator Tim Griffin said, “The Kitchen is interested in examining and challenging cultural narratives across every discipline. This season is remarkable in particular for a core group of artists—Tina Satter, Richard Maxwell and Sheila Heti—who push the conventions of theater and, in doing so, tell new stories about the world we live in.” More information on The Kitchen’s Fall 2014 programming is below. Tickets are available online at www.thekitchen.org; by phone at 212.255.5793 x11; and in person at The Kitchen (512 West 19th Street), Tuesdays–Saturdays, 2:00–6:00 P.M. THE KITCHEN WINTER 2015 PROGRAMMING THEATER Ancient Lives (world premiere) Tina Satter / Half Straddle January 7-10, 14-17 at 8pm; $15 In Half Straddle’s Kitchen debut, Ancient Lives, writer and director Tina Satter merges teen movie influences from the late 80s, a live mixed score, and video landscape to create a brand new coming of age narrative. A teacher leads three students away from society. When they start an alternative TV station in the woods and meet a young witch who alters the group dynamic, their fragile new family begins to fray. Seventeenth-century captivity narratives, adolescent letters of Emily Dickinson, the teen movies, and more infect this darkly humorous consideration of how we make meaning for ourselves and our communities. Half Straddle is an Obie Award-winning ensemble that makes plays, performances, videos and music written and directed by Tina Satter. This critically acclaimed company began in 2008; has toured its shows in the U.S., Europe, and Asia; has had several plays named New York Times Critics’ Picks; and in 2013 won the Obie Award for emerging theater company. Named a “2011 Off-Off Broadway Innovator to Watch” by Time Out New York, Satter was a recipient of the 2014 Doris Duke Impact Award, among other honors, and attended Brooklyn College’s M.F.A. Playwriting program. EXHIBITION Anna K.E, Alina Tenser, Viola Yeşiltaç No entrance, no exit January 13–February 21 Curated by Lumi Tan Artists Anna K.E, Alina Tenser, and Viola Yeşiltaç each carry a personal relationship to performance, which holds varying degrees of presence within—and relevance to—their current practice. The works created for No entrance, no exit gesture towards an in-between space shared with their audience; one which is freed from the designations of beginning and end, instead suspending an implied or inherent performance in time, and collapsing the physical states of objects, bodies, and surfaces into a single plane. MUSIC Synth Nights: Ben Vida January 21 at 8pm; $15 Slipping Control (ver.3) examines the connectivity between machine derived and spoken rhythms. This new iteration focuses on cycling vocal patterns and psychoacoustics all in the service of a rather broken sort of dance music. With Vida on electronics and Tyondai Braxton and Amirtha Kidambi on vocals. MUSIC Synth Nights: Eli Keszler February 11 at 8pm; $15 Eli Keszler will present an installation-composition that features three separate instrumental ensembles overlaid to form a single unit. Surrounded by hundreds of mechanical components concealed in sculptural planes, and with piano wire visibly extending across the space, Keszler's performances are scored both in relation to the installation and for participation within the site. By pushing performance toward installation, this large-scale project produces a complex social model where narrative, environment, and performative conditions collide. THEATER All Our Happy Days Are Stupid (U.S. Premiere) Written by Sheila Heti Directed by Jordan Tannahill with Erin Brubacher Music by Dan Bejar Feb 19-21, 26-28 at 8pm; $15 Co-presented by The Kitchen and McSweeney’s Publishing Two couples, each with a twelve-year-old child, travel to Paris; within a few moments of finding each other in a crowd, one of their children disappears. A day later, as the families search for the boy, one of the mothers disappears, too. The story that follows is a wonderfully strange, beautifully constructed examination of happiness and desperation, complete with men in bear suits, teen pop stars, and eight really excellent songs by Dan Bejar (The New Pornographers, Destroyer). New York Times bestselling novelist Sheila Heti’s debut play, All Our Happy Days Are Stupid, was first commissioned in 2001—but, until last year, was never produced. The writing of it, and its long history outside the public eye, became the backdrop of Heti’s novel, How Should a Person Be?, which follows the personal and professional travails of a young woman named Sheila as she struggles to write a play. Heti’s eclectic play was called “unstageable” by the Toronto theatre company that commissioned it more than a decade ago - it took the dogged curiosity of multi-disciplinary instigator and Suburban Beast director Jordan Tannahill to put together a company of artists bold enough to reveal all its playful seriousness. In All Our Happy Days Are Stupid, Heti’s writing is brought to life in a performance that includes artists across all the disciplines and captures a fertile moment in Toronto’s experimental cultural scene. DISCUSSION Charles Atlas in Conversation with Douglas Crimp March 2 at 8pm; $15 The Kitchen is pleased to host a discussion with video artist and filmmaker Charles Atlas in celebration of his new self-titled new book. Published in association with Luhring Augustine, Charles Atlas looks back at a career that has spanned four decades and profiles over 75 projects by Atlas including works recently exhibited at Tate Modern and the 2012 Whitney Biennial. As one of the first artists to explore the possibilities of video as a genre of expression, and especially through his long-lasting collaboration with Merce Cunningham, Atlas has teamed with numerous dancers and artists to create projects that range from feature-length documentaries to shorter media works, transforming the way performance is viewed by its audiences and the art world. Critical thinker Douglas Crimp, an art history professor at the University of Rochester, will lead the discussion with Atlas. Copies of the book will be available for purchase and signing at the end of the event. MUSIC Synth Nights: Morton Subotnick March 4 at 8pm; $15 Morton Subotnick is an American composer and one of the pioneers in the development of electronic music and multi-media performance. He is an innovator in works involving instruments and other media, including interactive computer music systems. Most of his music calls for a computer part, or live electronic processing; his oeuvre utilizes many of the important technological breakthroughs in the history of the genre. His work Silver Apples of the Moon was the first electronic work commissioned by a record company (Nonesuch) and has become a modern classic having been recently entered into the National Registry of Recorded works at the Library of Congress. EXHIBITION Anicka Yi You Can Call Me F March 5–April 11 Curated by Lumi Tan For You Can Call Me F, The Kitchen’s gallery will function as a forensic site where artist Anicka Yi will align society’s growing paranoia around contagion and hygiene (both public and private) with the enduring patriarchal fear of feminism and potency of female networks. Yi's new works will gather biological information from 100 women to cultivate the idea of the female figure as a viral pathogen, which undergoes external attempts to be contained and neutralized. Employing the visual language of quarantine tents, which allow limited transparency and access while aiming to protect their fragile ecosystems within, Yi’s humanist approach foregrounds the politics and subjectivities of smell, and its impact on our empathic understanding of each other. THEATER The Evening (New York premiere) Richard Maxwell / New York City Players March 12–28 With The Evening, playwright and director Richard Maxwell creates landscapes of text and silence to take his work to a new sculptural place on stage. Tragic, comic, and unexpected, this elegiac work probes the lives, desires, and dreams of three denizens of a dive bar: a fighter past his prime, his manager, and a bartender. Together and separately, fishtailing from ordinary speech to intimate confessions, they fight to escape their worlds and will discover themselves face to face with an oblivion, an ego-less stance in which they must find their way. As The Evening unfolds, autobiography, fiction and song weave a story emerging in real-time: a living, autonomous entity. Funders The Kitchen thanks the following foundations and businesses for their support: 303 Gallery; Adamson Gallery/Editions; Alvarez & Marsal Holdings, LLC; The Amphion Foundation, Inc.; Axe-Houghton Foundation; Bloomberg Philanthropies; Marianne Boesky Gallery; Tanya Bonakdar Gallery; The Broad Art Foundation; Mary Flagler Cary Charitable Trust; The Aaron Copland Fund for Music; Paula Cooper Gallery; The Cowles Charitable Trust; Joseph and Joan Cullman Foundation for the Arts, Inc; Cultural Services of the French Embassy in New York; Debevoise & Plimpton LLP; Dow Jones Foundation; Rebecca and Martin Eisenberg Foundation; Eleven Rivington; Fried, Frank, Harris, Shriver, and Jacobson LLP; Galerie Gisela Capitain; Galerie Hans Mayer; Galerie Lelong; Glenmede Trust Company; Marian Goodman Gallery; Greene Naftali; Hand, Baldachin and Amburgey LLP; The Harkness Foundation for Dance; Hauser & Wirth; HSBC Private Bank, a division of HSBC Bank USA, N.A.; IAC; Jerome Foundation; The Jerome Robbins Foundation; Lambent Foundation Fund of Tides Foundation; The Margaret and Daniel Loeb—Third Point Foundation; Luhring Augustine Gallery; The MAP Fund; Grace R. and Allen D. Marcus Foundation; The Andrew W. Mellon Foundation; Mertz Gilmore Foundation; Metro Pictures; Morgan Stanley; Neuehouse; New England Foundation for the Arts’ National Dance Project; New York Community Trust; Orentreich Family Foundation; The Overbrook Foundation; Paul, Weiss, Rifkind, Wharton, and Garrison, LLP; Petzel Gallery; The James E. Robison Foundation; Andrea Rosen Gallery; Jennifer and Jonathan Allan Soros Foundation; May and Samuel Rudin Family Foundation; The Fan Fox and Leslie R. Samuels Foundation; Sotheby’s; Laurie M. Tisch Illumination Fund; UBS Financial Services; The Andy Warhol Foundation for the Visual Arts; and Thea Westreich Art Advisory Services. Music programs are made possible with support from The Amphion Foundation, Inc., The Aaron Copland Fund for Music, and The Fan Fox and Leslie R. Samuels Foundation. Annual program support in part provided by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. About The Kitchen The Kitchen is one of New York City’s most forward-looking nonprofit spaces, showing innovative work by emerging and established artists across disciplines. Our programs range from dance, music, performance, and theater to video, film, and art, in addition to literary events, artists' talks, and lecture series. Since its inception in 1971, The Kitchen has been a powerful force in shaping the cultural landscape of this country, and has helped launch the careers of many artists who have gone on to worldwide prominence. Facebook: facebook.com/TheKitchenNYC Twitter: twitter.com/TheKitchen_NYC Instagram: instagram.com/TheKitchen_NYC For more information, please contact John Wyszniewski or Blake Zidell at Blake Zidell & Associates, 718.643.9052, john@blakezidell.com or blake@blakezidell.com.

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