‘ARCHITECTURES OF GENDER’ Subtitled “Contemporary Women’s Art in Poland,” this multigenerational show of fierce, fragile installations by 16 savvy female Polish artists tackles gender obliquely and spatially. Curated by Aneta Slyzak from Gdansk, it offers pioneer feminist Zofia Kulik’s updated early piece (The World as War and Adornment), Katarzyna Kozyra’s controversial 1999 Men’s Bathhouse, and equally strong works by artists new to us here. In the basement, Agnieszka Kalinowska’s streamers, Katarzyna Jozefowicz’s cabinets, Natalia LL’s photo cascade, and Karolina Wysocka’s glass stanchions are among the surprises. THROUGH JUNE 8, Sculpture Center, 44-19 Purves Street, Long Island City, Queens, 718-361-1750. (Levin)

‘EXIT BIENNIAL: THE RECONSTRUCTION’ With 34 installations being constructed on-site by 45 mostly new artists-at-work, this chaotic exhibition project in progress, which inaugurates Exit Art’s new space, has been fueled by raw energy ever since the opening. Now in its final days, the alternative space’s latest adventure has taken amorphous, sprawling shape, complete with a duct-taped shanty, a haphazard sweatshop, an upside-down house, walls of twigs, Jell-O, and mist, and lots more, including a log that roars. Check out Alessandra Torres in her incubator, work on Christoph Draeger’s puzzle, buy an artist-made candy bar, or borrow a bicycle. THROUGH MAY 31, Exit Art, 475 Tenth Avenue, at 36th Street, 212-966-7745. (Levin)


LAVA Sarah East Johnson’s ensemble of six sturdy female acrobats may finally have met their environmental match in the new Bessie Schönberg Theater. Whether flying through the air or tumbling on the stage, they’ll electrify the space in High Tide, a new show about love, velocity, and abstract art inspired by Niagara Falls, saturated-color fields, and conflict resolution. Nancy Brooks Brody provides seductive visual elements, and the Butchies, Guy Yarden, and Muzak fill the airwaves. THURSDAY THROUGH SUNDAY AT 7, THROUGH MAY 18, Dance Theater Workshop, 219 West 19th Street, 212-924-0077. (Zimmer)

JOHANNES WIELAND A veteran of the great ballet troupes of Europe surfaces, after earning an M.F.A. at Tisch, at this bastion of downtown experimentation. He’s been producing dances prolifically for several years; this evening, called “Beneath,” includes three world premieres and a local premiere for his own company—recruited from the best of NYU’s new crop, among other places—plus a new work for Paradigm, a trio of veterans including Gus Solomons jr, Carmen de Lavallade, and Keith Sabado. THURSDAY THROUGH SUNDAY AT 8:30, Danspace Project at St. Mark’s Church, 131 East 10th Street, 212-674-8194. (Zimmer)


‘AN EVENING WITH ISAAC JULIEN’ The pop theorist and one-man British avant-garde will host two programs. The first consists of his early work, including the celebrated manifesto Looking for Langston; the second is mainly devoted to his recent, annotated clip-doc Baadassss Cinema: A Bold Look at ’70s Blaxploitation Films. SUNDAY AT 6 AND MONDAY AT 8, MOMA at the Gramercy, 127 East 23rd Street, 212-777-4900. (Hoberman)

‘FILMS FROM ALONG THE SILK ROAD’ Produced on the steppes of Central Asia—Turkmenistan, Tadjikistan, Kyrgyzstan, Kazakhstan, and Uzbekistan—the films in this groundbreaking series pre- and post-date the Soviet Union. The two dozen features include political comedies, coming-of-age films, period epics, historical parables by the Soviet Uzbek master Ali Khamraev, and the unclassifiable minimalist dramas of the contemporary Kazakh auteur Darezhan Omirbaev. OPENS FRIDAY, THROUGH MAY 29, Walter Reade Theater, 165 West 65th Street, 212-875-5600. (Hoberman)

TRIBECA FILM FESTIVAL Returning under the direction of Peter Scarlet (formerly of the SF Film Festival), Tribeca is bigger, bolder, and more diverse than last year—with over 200 features, mostly local premieres, as well as a competition, scattered over a half-dozen downtown venues. Preceded by a weekend “family festival,” the main event begins public screenings on Tuesday with the decon-recon documentary Charles Laughton Directs “The Night of the Hunter” and Our Times, by Iran’s leading female director, Rakhshan Bani-Etermad. The Black Filmmaker Foundation has curated a 25-year retrospective. Restorations include Sergio Leone’s Once Upon a Time in America and The Good, the Bad, and the Ugly. OPENS SATURDAY, THROUGH MAY 11, various venues, 866-941-FEST, (Hoberman)


BRIGHT EYES+ARAB STRAP+JESSE HARRIS & THE FERDINANDOS A bill that spans the indie archipelago, from unsung to overhyped, raw to cheeky, beautiful to strange, drum machines to violins, the roadhouse to the kitchen table. Jesse Harris is the guy who got a Grammy for those Norah Jones songs; his own folk rock with his long-standing band has a modest, straightforward virtue. Conor Oberst, the Nebraska boy wonder raised by indie America, is still rolling with his tent revivals of love and painful truth. The Scottish blokes of Arab Strap, sweet strings notwithstanding, seem poised to add some much needed edge to the evening with their chemical washes of beats and Pulp-like menace. With Jesse Harris on Wednesday only. WEDNESDAY AT 8, Irving Plaza, 17 Irving Place, 212-777-6800; THURSDAY AT 8, Town Hall, 123 West 43rd Street, 212-840-2824. (Kamenetz)

HALFORD+TESTAMENT+IMMORTAL+AMON AMARTH +CARNAL FORGE Post-Judas Priest his career may have (temporarily) derailed with some . . . well, bad fashion and music choices (see Two), but Halford’s Hell Bent on staying contemporary: Fight weren’t Priest, but hey, they were hella more modern sounding than what Priest had shrunk to, and his solo stuff’s as lethal as anything post-Screaming for Vengeance—he’s Spun back. Tonight’s “Metal Gods Tour” exemplifies his savviness in bringing along Nordic viking kings Amon Amarth and Immortal, who conjure blackish metal from the fantastical realm of Blashyrkh. With Swedish up-‘n’-comers Carnal Forge, who power-surge the life support of Testament’s dying thrash/speed-metal. FRIDAY AND SATURDAY AT 6, B.B. King Blues Club and Grill, 237 West 42nd Street, 212-307-7171. (Bosler)

HANK JONES The living master of jazz piano, Jones was instantly acclaimed in the 1940s, for the way he combined the ideas of bop with the gilded touch and spare clarity of Teddy Wilson. Once a favored accompanist and studio musician, he developed into one of the most stylish and self-possessed modern pianists, a touchstone who collaborated with everyone from Charlie Parker to Tony Williams, and is getting set to record with Joe Lovano. His is the Rolls-Royce of piano trios, and if you’ve never seen this nearly 85-year-old wonder live, you are deprived. WEDNESDAY THROUGH SUNDAY AT 8 AND 10, Iridium, 1650 Broadway, 212-582-2121. (Giddins)

LEE KONITZ A saxophonist’s saxophonist for over half a century, Konitz came into his own after a tripartite apprenticeship with Tristano, Thornhill, and Miles, during which he developed the one genuinely original alternative to Bird. A master improviser, one of those rare ones who embark on every solo as though it might be their last, he’s also the kind of musician who changes his settings like seasonal outfits. This time he reunites the Nonet he introduced in the ’70s, with a book of incisively voiced arrangements that plushly support him and the other soloists. THURSDAY THROUGH SATURDAY AT 9 AND 11, Birdland, 315 West 44th Street, 212-581-3080. (Giddins)

THE LIBERTINES Great Britain’s supposed answer to the Strokes and the Hives got their album produced by the Mick Jones who wasn’t in Foreigner and have a “The Boy Looked at Johnny” song, so sloppiness-revering well-wishers also liken them to the Clash even when they veer closer to the Manic Street Preachers or Godfathers. Which isn’t to suggest that their purposefully inept attempt at snarling like pissed hooligans doesn’t at times come off charming. And there’s no denying that “Wot a Waster” (about a bird on coke) mixes melody, harmony, riff, and the prissiest pronunciation of “cunt” ever into a very cute single. FRIDAY AT 8, Luxx, 256 Grand Street, Brooklyn, 718-599-1000; MONDAY AT 10, Bowery Ballroom, 6 Delancey Street, 212-533-2111. (Eddy)

THE STYRENES On and off since 1971, these Cleveland legends have antisocially provoked with zigzagging remnants of space prog, swing jazz, Terry Riley, “Three Blind Mice,” and bondage-and-discipline Velvets. Members wound up in Pere Ubu and elsewhere, and last year’s overview, It’s Still Artastic, was a revelation. Organ swells lend a sadness to even their speediest, seediest yawps about murder with guns, letters to exes, Jaguar rides, Detroit Tigers, and Drano in your veins. Tonight’s a benefit gig; the price is steep, but the bar is open. FRIDAY AT 7, Union Pool, 484 Union Avenue, Brooklyn, 718-609-0484. (Eddy)

RICHARD THOMPSON The bad-news bear returns to town leading a stripped-down trio and toting The Old Kit Bag, a new album of timeless misery subtitled “Unguents, Fig Leaves and Tourniquets for the Soul.” Backed by the great acoustic bassist Danny Thompson and drummer Michael Jerome, Thompson’s Sufi-Celt guitar brilliantly flashbulbs the sad corners of “this tainted place/of slow and hidden pain.” FRIDAY AND SATURDAY AT 8, Town Hall, 123 West 43rd Street, 212-307-7171. (Gehr)

TRANSPLANTS+LAGWAGON Nobody move; nobody gets hurt. Late last year, the Transplants—Tim from Rancid plus Travis from Blink 182 plus a scary barking bald dude named Rob Aston—put out the best Rancid album since . . . And Out Come the Wolves. Except Rancid never interpreted a Wu-Tang Clan song, or reveled so much in how reggae dancehall and the Anti-Nowhere League lyrically commit hate crimes while drugs rule everything around them. Santa Barbara blink-punks Lagwagon, depicted on their latest CD cover as your smiling neighborhood milkman, butcher, chemist, gas station attendant, and moral hygiene teacher, are a bit more wholesome. With Roger Miret & the Disasters and Avoid One Thing. MONDAY AT 8, Irving Plaza, 17 Irving Place, 212-777-6800. (Eddy)

ZEMOG EL GALLO BUENO Totally over-the-top eclecticism like rock en español hardly ever makes anymore: more all-encompassing than Manu Chao, even. Not to mention heavier, artsier, and maybe wackier—yet no less catchy. Abraham Gomez-Delgado (note backward-masking in band name) has called rural and urban Puerto Rico and Peru home, and names among his inspirations Ellington, Gillespie, Sun Ra, Eddie Palmieri, Henry Threadgill, Anthony Braxton, Santana, Devo, Metallica, Public Enemy, and Tuvan throat singing, all of which make a mark on his 10-piece band’s CD. As does a hidden track with chicken and cricket noises. With Mofongo. SATURDAY AT 8:30, Makor, 35 West 67th Street, 212-601-1000. (Eddy)


‘THE GREAT SAUNTER’ You may have run a marathon, but have you ever circumnavigated Manhattan on foot at three miles per hour? Every spring a friendly horde does it rain or shine, exploring the state of our island coastline from South Street Seaport to Inwood and back, 32 miles in 12 hours, with a picnic lunch at the top. Your host is Shorewalkers, which organizes less ambitious walks every weekend all year round. SATURDAY AT 7:30 A.M., Fulton and Water streets, or 9:45 A.M. at the Circle Line Terminal, West 42nd Street and 12th Avenue, 212-663-2167. (Zimmer)

‘THE YOGA OF BREAKIN’ Original Boogie Down B-boy Richard “Crazy Legs” Colon links up with ex-Def Jam employee-turned-yoga instructor Kay Dougherty to elucidate the connections between the principles of body alignment and a proper pop and lock. For breakers and yogis alike, the class will enhance both dance techniques and physical stability and flexibility, while also bringing together two New York worlds that don’t know each other but probably should. It’ll be enough to make your head spin—just don’t forget to breathe. FRIDAY AT 8, Vira Yoga, 580 Broadway, 212-334-9960. (Demby)


‘ART PHOTOGRAPHY IN JAPAN 1920-1940’ This elegant survey show focuses on rarely exhibited examples of Japanese pictorialism, which, even more than its Western counterpart, had one foot in traditionalism and another in the avant-garde. Along with the expected soft-focus, sepia-toned landscapes and still lifes, there are Bauhaus-style modernist compositions, a quartet of frankly erotic nude studies, and a great, noirish shot of a moving train whose blur propels it straight into the future. A distinctly Japanese sense of delicacy, restraint, and perfectly skewed balance keeps even the primmest of these photos from feeling fussy. THROUGH SATURDAY, Howard Greenberg Gallery, 120 Wooster Street, 212-334-0010. (Aletti)

MEL BOCHNER Although this pioneering conceptualist’s photographic output spanned only three years (1966 to ’69), it was surprisingly varied and ranged from the predictably dry (black-and-whites of wooden blocks in various grid configurations) to the weirdly juicy (color shots, taken by a professional product photographer, of slathered Vaseline and looping curls of shaving cream). Even juicier, in the abstract expressionist vein, are a series of vividly messy color “Smears” that suggest the process work of Marco Breuer. And don’t miss the witty arrangement of index cards inscribed with pertinent quotes, including “Photography cannot record abstract ideas.” THROUGH SATURDAY, Sonnabend Gallery, 536 West 22nd Street, 212-627-1018. (Aletti)


‘HUMBLE BOY’ “An unhappy family,” said Tolstoy, “is unhappy after its own fashion.” And maybe that fashion is more than usually interesting, if Son’s an astrophysicist, Dad’s a dead beekeeper, and Mom’s in the arms of another man on the day of Dad’s funeral. Charlotte Jones’s play was liked in London, where Diana Rigg played the apiarist’s widow; John Caird’s MTC production features Blair Brown, Jared Harris, Paul Hecht, and Mary Beth Hurt. N.B.: Don’t confuse the young English author with the stout and sturdy American character actress of the same name. IN PREVIEWS, OPENS MAY 18, Manhattan Theatre Club, 131 West 55th Street, 212-581-1212. (Feingold)

‘LADIES OF THE CORRIDOR’ Blacklisted and alcoholic, Dorothy Parker fled Hollywood for New York, where she collaborated with fellow lefty and blacklistee Arnaud d’Usseau on this 1953 tragicomedy about the shadowy figures tenanting Manhattan’s apartment hotels—like the one Parker herself resided in at the time. The reviews were sniffy, but the play’s reputation for deserving better has lingered. Maybe Dan Wackerman’s production, for the enterprising Peccadillo Theatre, will reveal unexpected virtues. PREVIEWS BEGIN FRIDAY, OPENS MONDAY, Bank Street Theater, 155 Bank Street, 212-561-9635. (Feingold)

‘LONG DAY’S JOURNEY INTO NIGHT’ Mom’s doing dope again, Dad’s teaching the kids Alcoholism 101, younger son Edmund’s got TB, and the Tyrone family’s in for another miserable night. Mother of God, why do the rest of us find it so fascinating? Eugene O’Neill’s riveting quartet confessional is a masterpiece stuck permanently in America’s craw, and the rest of the world’s too. Robert Falls’s new production features Brian Dennehy, Vanessa Redgrave, Philip Seymour Hoffman, and Robert Sean Leonard as the fissionable atoms of this decaying nuclear family. IN PREVIEWS, OPENS TUESDAY, Plymouth Theatre, 45th Street and Broadway, 212-239-6200. (Feingold)

‘WRITER’S BLOCK’ How many steps does it take to get from David Mamet to Woody Allen? Answer: one. The Atlantic Theater Company, of which Mamet is patron saint, is presenting Allen’s latest work, this pair of one-acts, which will also mark Allen’s debut as a stage director (we hear he has a little bit of experience in a distantly related medium called film). His cast’s credits mostly come from TV, a medium that’s irrelevant to everything, but some reliable theater figures are included, notably Bebe Neuwirth and Obie winner Christopher Evan Welch. IN PREVIEWS, OPENS MAY 15, Atlantic Theater, 336 West 20th Street, 212-239-6200. (Feingold)


NINA REVOYR+ROBERT STONE The problem of memory binds even those for whom there’s nothing to forget. In Revoyr’s second novel, Southland, yuppie-on-the-make Jackie Ishida learns this by degrees as she probes the unreported murders of four black teenagers killed during the Watts riots, discovering her family’s unspoken history in the process and the shared pasts of Japanese- and African-Americans in Los Angeles. Stone reads from his tale of desperate men and voodoo (Bay of Souls). SUNDAY AT 7, KGB, 85 East 4th Street, 212-505-3360. (Reidy)

TOM ROBBINS You either love Tom Robbins (Even Cowgirls Get the Blues changed my life!) or hate him (he’s no Richard Brautigan!), but it’ll probably be fun to hear him in person. Quirk fiction’s Mr. Popularity reads from his latest freewheeling fiction, Villa Incognito. (Important note for groupies: This is not the Voice‘s Tom Robbins, who authored the amazing Russell Harding exposé.) TUESDAY AT 7, Barnes & Noble, 33 East 17th Street, 212-253-0810. (De Krap)

This article from the Village Voice Archive was posted on April 29, 2003

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