Tue

10/17

Wed

10/18

Thu

10/19

Fri

10/20

Sat

10/21

Sun

10/22

Mon

10/23

Today

Tue

10/17

Art

Duke Riley: Now Those Days Are Gone

Photo: “The Armies of the Night (partial view of 1,000 paintings),” 2017 / COURTESY THE ARTIST AND MAGNAN METZ GALLERY

Duke Riley’s current exhibition at Magnan Metz is a two-parter: A large temporary space across the street from the gallery displays new work, made in the wake of the artist’s Fly by Night undertaking; and in the gallery itself is a mini-retrospective of past pieces and project artifacts, including his original submarine. The show lends aesthetic grounding and context to the performance-style works, and tinges Riley’s rapscallion energy with introspection and melancholy. “The studio practice is extremely important to me functioning as a human and artist,” Riley says. “Starting with a blank piece of paper and creating another world — even when the projects are happening, it’s an important part because I’m thinking.”

Siddhartha Mitter

Film

Toute Une Nuit

Between the sleepless despair of Eric Rohmer’s Full Moon in Paris and the confrontational horniness of Catherine Breillat’s Trouble at Night dwells the sentient Brussels-after-dark of this 1982 Chantal Akerman film. Plot-resistant and largely dialogue-free, Toute Une Nuit pulses with wistful yearning; the men and women are lonely together, lonelier apart, and the children escape into the wilderness. Akerman runs through countless tiny scenarios, transforming real locations into a dream theater, in which she contrasts against the hard, aged urban surfaces a spectrum of emotional states, many fragile, all transitory. A marionette working upon an infinite diorama, Akerman renders Toute Une Nuit with the watertight credibility of someone who knows that her own depthless longing comes equipped with a universal adapter. Toute Une Nuit emerges finally as a palimpsest scroll, its naked story-prompts passing in quick succession, each leaving a stubborn after-image.

Jaime NChristley

 

Wed

10/18

Art

Brooklyn Photographs

Photo: Photograph by Patrick D. Pagnano

New Yorkers are accustomed to change, Brooklynites perhaps more than most. In the past thirty years, the borough has undergone tremendous adjustments that have brought both good and ill. Now BRIC, the nonprofit arts and media organization, presents “Brooklyn Photographs,” an exhibition of seventy-five images from the Sixties through the present day, by eleven artists and documentarians who have captured Brooklyn’s history and its makeover. The contributors include Max Kozloff (the former editor of Artforum magazine), who spent twenty years photographing the West Indian Carnival; Russell Frederick, who has tracked the gentrification of Bed-Stuy; Meryl Meisler, whose work has focused on her students at I.S.291 in Bushwick; and George Malave, who spent time with kids on Varet Street in the late Sixties. All told, the photographs offer a succinct snapshot of an enormous, diverse, and ever-changing city.

—Pac Pobric

Thu

10/19

Theater

The Power of Emotion: The Apartment

Photo: Maria Baranova

It’s one thing to talk about fiery emotions — and another to get so mad that your apartment literally catches on fire. This, among other things, is the premise for The Power of Emotion: The Apartment, a new musical play now showing at Abrons Arts Center. A collaboration between writer Shonni Enelow and director Katherine Brook, the piece explores the cultural politics of feelings — how we perform our inner states — through a true crime–inspired tale of two women and a deadly argument. (The title is an homage to Alexander Kluge’s 1983 documentary about emotion, in all its philosophical and psychological complexity.) Classical-music quintet TAK Ensemble will perform live, playing new compositions by composer Taylor Brook. There will also be tarot card readings, courtroom drama, and forays into opera and film history.

Miriam FeltonDansky

Music

Dead Rider

Chicago quartet Dead Rider exude the kind of oily, precarious rock you could see the Twin Peaks woodsmen getting down to – unlike that insipid electropop narcotizing the Roadhouse crowd. Led by Todd Rittmann, Dead Rider (formerly D. Rider) evolved out of U.S. Maple and Singer, bands that often sounded ambivalent about their very existence. Rider, however, is more than happy to invite you into its grand, greasy vortex. On their formidable new Crew Licks, Rittmann and friends sound like a nightmare cast dreamed up by Universal Pictures in the Forties. His guitar soars, slobbers, and sputters through decomposing blues; he plays flesh-eating duets with himself as water drips from rusty overhead pipes, while a synthesizer messes with the verticals and horizontals. Their “Ramble on Rose” cover, meanwhile, transforms the Grateful Dead into subterranean avant-r&b. This is the water and this is the well, indeed. Also: Eaters and Christina Schneider’s Genius Grant.

Richard Gehr

Fri

10/20

Theater

Mementos Mori

Photo: Drew Dir

The Grim Reaper comes a-calling in Manual Cinema’s Mementos Mori, in which the specter of Death takes the form of a femme fatale figure. The Manual Cinema collective, which hails from Chicago, is known for making “live cinema” incorporating a medley of elements: live performance, highly-detailed shadow-puppets, music and sound effects, and dynamic visuals projected on screens above the artists at work. With an eye equally invested in both the story and the creative process, their productions allow the audience a peek behind the curtain, so to speak — the puppeteers often do double duty as actors. From this vantage point, the complexity of the creators’ efforts can be thoroughly appreciated. According to a release, Death’s journey in the elaborate Mementos Mori also involves “a ghost, a seven-year-old girl, and an elderly projectionist.”

Nicole Serratore

Sat

10/21

Music

Ragas Live Festival

Photo: Courtesy Rubin Museum of Art

Columbia radio station WKCR’s annual marathon of Indian classical music has evolved into the Ragas Live Festival, a 24-hour, 24-performance immersion into India’s northern and southern classical traditions – along with some jazzy fellow-travelers. You’ll want to either come early, or stay very late, to hear Indro Roy Chowdhury (sitar), Camila Celin (sarod), and Deepal Chodhari (santoor) perform seldom-heard morning ragas. You should also catch the Varanasi sitar master Rabindra Narayan Goswami and Carnatic vocalist Vignesh Ishwar. However, innovative fusion experiments like percussionist Sameer Gupta’s A Circle Has No Beginning, the string trio Woven, and Recalling the Valley (paying tribute to a landmark 1967 Hindustani recording) are what really distinguish this festival, which should resonate nicely alongside the Rubin’s immersive “The World Is Sound” exhibition.

Richard Gehr

Dance

Rebecca Davis

A choreographer whose work includes curation, performance, installation, and sculpture, and who practices and teaches the Feldenkrais method, Rebecca Davis here mobilizes collaborating performers Martita Abril, Dana Florin-Weiss, Carolyn Hall, and Kay Ottinger in her new quartet, the final hands count beginning sounds. One of the first artists to show work eleven years ago at this intimate Queens theater, she presents a piece in which the dancers change positions in precise, second-by-second shifts, moving between sitting, standing, kneeling, and lying flat. (They also create kinetic sculptures, within the dance, that range from minimalist to densely geometric.) Zach Layton provides the sound, and Kathy Kaufmann the lighting.

—Elizabeth Zimmer

Sun

10/22

Film

Margaret Mead Film Festival

Photo: Brimstone and Glory / Courtesy American Museum of Natural History

The theme of this year’s Margaret Mead Film Festival — “Activate” — sounds rather apropos in a city and a country that have been battered over the past several months by the intolerance and authoritarianism of the Trump administration. Tucked away at the American Museum of Natural History, the documentary-oriented fest honors the famed anthropologist’s desire for attaining a fuller understanding of the human condition. The four-day program will include screenings, dialogues with filmmakers, parties, and a special installation (by the stop-motion-animation artist Amanda Strong). As for the movies themselves, there will be, among others, a piece about a man documenting his own impending blindness and another about an Iroquois lacrosse team fighting struggling for recognition.

—Natalia Hadjigeorgiou

Art

AIDS at Home: Art and Everyday Activism

Pride month may be over, but there’s still plenty of time to catch the Museum of the City of New York’s current show, “AIDS at Home: Art and Everyday Activism,” which takes a new look at the disease and its politics through a domestic lens. AIDS activism often involves spectacular forms of protest, but MCNY’s exhibition explores the relatively less visible role of queer homes and support networks during the Eighties and on through the present day. Three rooms divide the show into broad themes — caretaking, housing, and family — mapping out a novel history of New York’s LGBTQ community in documents and artworks across an array of mediums, including works in yarn, embroidery, wallpaper, textiles (think: the AIDS quilt), and other household materials. Arriving during a period of great discontent in Washington — six members of the Presidential Advisory Council on HIV/AIDS recently resigned to protest the White House’s lack of a strategy for addressing the ongoing epidemic — the show couldn’t feel more urgent.

Joseph Cermatori

Art

Fictions

It began with “Freestyle,” back in 2001. Since then, every few years the Studio Museum in Harlem has held a series of influential exhibitions that are specifically intended to bring a fresh crop of noteworthy Black American artists to the attention of a broad audience. An alliterative conceit binds together what have become known as the “F shows”: “Frequency” in 2005, “Flow” in 2008, “Fore” in 2012. Now, the museum has decided the climate is right to release a new batch of talent from the continual prospecting that is part of its mission. “Fictions,” featuring work by nineteen artists from around the country, and with a strong proportion of installation and work in unorthodox materials, began in September and runs through early January.

Siddhartha Mitter

Theater

Oh My Sweet Land

The writer and director Amir Nizar Zuabi’s play Oh My Sweet Land has no fixed address. Instead of being housed in a theater, it is being performed every night in the kitchen of a different New York apartment or community space. This movement around the city mirrors the plight of Syrian refugees, the subject of the piece, who have been pushed out of their homes by war and forced into a nomadic existence. The unsettled nature of the story’s characters neatly gel with its peripatetic premise: In just 65 minutes, Zuabi sends his audience across time and space, through vivid storytelling, aggressive smells and sounds, and descriptive detail — all imbued with a furious intensity that is not easily shaken.

Nicole Serratore