From Eugene Von Bruenchenhein’s rapturous paintings to Brassaï’s Parisian underground
GABRIELLA ANGELETI and WALLACE LUDEL18th December 2020 08:00 GMT
Our editors and writers scour the city each week for the most thoughtful, relevant and exciting new exhibitions and artworks on view at galleries, museums and public venues across all five boroughs of New York. This week we recommend:
Eugene Von Bruenchenhein No. 795, April 10, 1959 (1959) Andrew Edlin Gallery
Eugene Von Bruenchenhein: Phantasmagorical Paintings 1957-61
Until 23 January at Andrew Edlin Gallery, 212 Bowery, Manhattan
Eugene Von Bruenchenhein, an Outsider artist from Wisconsin, explored three substantial bodies of work in his lifetime: sculptures, which are primarily either ceramic or made from chicken bones; small, devotional photographic portraits of his wife Marie, which run the gamut from the erotic to the psychedelic, with a wide range in between; and paintings. Von Bruenchenhein began painting in the 1950s, developing techniques using brushes made from his wife’s hair, combs, his fingers, tools from his job as a baker and other idiosyncratic supplies to manipulate paint on masonite. They feel almost biblical, combining in a kaleidoscopic fervor Von Bruenchenhein’s anxieties about global atomic annihilation—as he was painting at the height of the Cold War, when such an apocalypse felt imminent—with his love for organic creatures and the cosmos. Though not exhibited until after his death, today it would be justified to view this oeuvre as a heavy hitter in the long lineage of artworks concerned with the creation and destruction myths of their particular zeitgeist. — Wallace Ludel
Until 27 February 2021 at Marlborough, 545 West 25th Street, Manhattan
The Hungarian-French photographer and writer Brassaï arrived in Paris in 1924, where he commenced a decades-long focus on capturing colourful and often sinister facets of nocturnal Paris, particularly of the neighbourhoods of Montparnasse and Montmartre, which have historically served as hubs for artistic circles in the city. This exhibition includes 39 photographs from the 1930s provide a voyeuristic glimpse into both Parisian high society and the its underground world, which the artist felt represented “Paris at its least cosmopolitan [but] at its most alive, its most authentic”, he explained in 1976. Among the highlights, the image Chez Suzy, la preséntation (At Suzy’s, introductions) (1932-33) uncannily recreates The Judgement of Paris—the Greek mythological story of a beauty contest between the goddesses Aphrodite, Hera and Athena, which is the subject of artworks by Peter Paul Rubens and other Old Masters—by replacing the subjects with three prostitutes and Brassaï’s bodyguard, who sometimes accompanied him on his nightly excursions. — Gabriella Angeleti
Attributed to Anna Hoffman, Supper at Emmaus (around 1642) Christopher Bishop Fine Art
The Magic of the Draughtsman: Images of the Occult
Until 12 February 2021 at Christopher Bishop Fine Art, 1046 Madison Avenue, Suite 2N, Manhattan
The drawings dealer Christopher Bishop says the esoteric writings of the German art and cultural theorist Aby Warburg—coupled with a growing interest in mysticism and the cosmos—inspired this show of more than 20 Old Master and Modern drawings that explores the connection between art, magic and science, and how artists have conveyed occult and mythological subjects from the 16th to the 20th century. The show includes the only surviving work attributed to Anna Hoffman, a 17th-century Swiss draughtswoman whose contributions to the historically male-dominated field have been largely overlooked. Hoffman’s captivating drawing from around 1642 shows Christ revealing himself to two pilgrims and is inscribed on the verso as made “by Hoffmann’s daughter in Basel”, referring to her father, the painter Samuel Hoffman who trained under Rubens. Other works are populated by mermaids, witches, satyrs and other figures practicing black and white magic, including pieces by John Downman, John Trumbell, Arthur Rackham and others. — Gabriella Angeleti
Para Joseph Beuys «el arte es la acción, la vida» de modo que su sentido emerge de la interrelación entre el artista y el espectador, especialmente, en el proceso y el momento creativo. A partir de esta idea se diseñan y ejecutan realizaciones de carácter público que implican la presencia de los asistentes como parte consustancial de la propuesta artística. Destacan la relación directa entre la acción, la presencia física del artista y los espectadores. Las reacciones, emociones y respuestas de estos últimos forman parte del desarrollo de acciones que pueden ser efímeras o registrase, según los objetivos e intereses fijados.
Foto: Victor Guido
Bajo estas premisas, Rafael Montilla (Caracas, 1957) inserta al Kube Man (hombre cubo) en lugares públicos buscando suscitar un acercamiento particular con un sujeto de traje blanco y cabeza en forma de un cubo construido a partir de espejos que reflejan la propia imagen del espectador. El blanco unifica e iguala, sin camuflarse. El cubo, por su parte, es una constante en el trabajo de Montilla, ya que para él este cuerpo sólido y regular limitado por seis cuadrados iguales, concentra los puntos de encuentro entre el sistema y la unidad, las coincidencias entre lo macro y lo particular, aquello que se repite y, a la vez, es singular.
Cubeman Performance Foto: Victor Guido
Quienes se acercan al Kube Man se ven a sí mismos en las superficies lisas y brillantes hecha de acrílico espejo. En ese instante la mirada y la observación descubren la propia presencia lograda a través de la proximidad con quien hasta hace pocos instantes era un individuo extraño, desconocido y ajeno a su ambiente. Montilla aborda la experimentación visual a través de formas, líneas y movimientos, propiciando un diálogo entre lo lúdico y lo rígido. Reflejos y percepciones se involucran, lo visto comulga con la sensación interior, la imagen se funde con la intuición y la impresión —mediadas por los sentidos— para, finalmente, estimular la comprensión de ideas.
Cubeman Performance – Foto: Victor Guido
Montilla comenta que “todas las personas ven el espejo pero no para verse a ellos, sino con el deseo de ver a la persona que está adentro. Veo sus expresiones queriendo abrir mucho más sus ojos, tratando de ver lo que está detrás del espejo. Si ellos sintieran ese mismo deseo para verse internamente a ellos mismos, descubrirían que todos somos iguales”.
Cubeman Performance – Foto: Victor Guido
Las anécdotas, comentarios y respuestas que surgen a partir de esta acción son tan variadas como los espectadores. A veces prevalece la timidez, otras la curiosidad. En todo caso, el Kube Man no pasa desapercibido. Su presencia llama la atención. Podría evocar, por momentos, al flamante Mago de la cara de vidrio, novela escrita por Eduardo Liendo Zurita, cuyo personaje central —Mr. TV— resulta ser un intruso que incomoda y busca imponerse. El Kube Man, por el contrario, se desplaza sin ser invasivo. Propicia el acercamiento espontáneo y franco. En su transitar se ha topado con algunos cómplices, personas que con cámaras fotográficas o teléfonos celulares capturan su acción dotándola de otras vías de circulación y potenciado su alcance. Con esta intención, Montilla acordó un registro fotográfico a través de la mirada profesional de David Díaz (Remon Díaz en redes sociales), quien desde la imagen fija presenta al Kube Man en contextos y lugares que invitan a la reflexión.
El trabajo conjunto permitió planificar una sesión de fotos iniciada un domingo a las 6:00 de la mañana. Caminaron, conversaron, decidieron. La creatividad del fotógrafo hizo posible una nueva presentación del Kube Man mediante imágenes que lo muestran en la cotidianidad desde distintos planos, encuadres y poses. En el cubo de espejos no aparece la figura del fotógrafo, sino el entorno. Las fotos de Remon Díaz reflejan el hábitat urbano donde Montilla desarrolla sus acciones desde una perspectiva socio cultural y comunicacional que permite explorar la ciudad, pensar el espacio público, desafiar la recepción pasiva y la monotonía. Estos planteamientos estimulan la observación y la sensibilidad, centrando la atención en la conexión y la sutil brecha que emana de lo individual y lo colectivo, lo público y lo privado, lo que hurgamos y lo que encontramos, en fin, lo que vemos y lo que somos, lo que percibimos y reflejamos.
Rafael Montilla. Artista venezolano residenciado en Miami, su trabajo se ha expuesto en ferias, museos y galerías de España, Venezuela, Canadá, Holanda, Francia, Italia y Estados Unidos. Ha participado en exposiciones individuales y colectivas obteniendo reconocimientos. Desde la geometría explora diversos formatos y soportes a través de esculturas, fotografías, instalaciones, performance y arte urbano. El 19 de agosto de 2016 fue proclamado el “Día de Rafael Montilla” por el Gobernador de la ciudad de Miami, FL. Tomás Pedro Regalado.
Remon Díaz. Fotógrafo hispano-cubano. Ha recibido diversos galardones, como el Primer Premio alcanzado en el Sony World Photography Awards London (2014); finalista (2013 y 2014) en el International Photography Awards HIPA Life in Colors; premio a la foto ganadora en el mes de junio del concurso “Inspirados en España” (2013) y mención de honor en el Miami Photo Salón (2015).
CARLOS J SOTO (b. 1980) is a director and designer based in New York City, where he studied Art History and Literature at the Pratt Institute. His GIRLMACHINE premiered at Performa 09 and was subsequently presented in Paris by the American University of Paris. Pig Pig Pig (2010) was developed in residency at Le Point Éphémère, Paris, and performed at the Moscow Museum of Modern Art. In 2011, he was featured in an evening of works curated by Robert Wilson for Works & Process at the Guggenheim Museum. In September 2013, Pace Gallery, NY, exhibited video work created in residency at Willem de Kooning’s studio in Springs, NY. Soto has presented work at the Triennale di Milano, Kunstverein in Hamburg, the Istanbul Biennial, among others. He has been artist-in-residence at The Watermill Center (2009 & 2015), Kampnagel Hamburg, Schauspielhaus Wien, Lower Manhattan Cultural Council, New York Live Arts, among others.
CARLOS J SOTO
Soto has collaborated with recording and performance artist Solange as associate director and costume designer on multiple projects, most recently on the film and festival tour accompanying her album When I Get Home. In 2017 he collaborated with Solange on her Cosmic Journey / Orion’s Rise tour culminating her performances in support of her Grammy-winning A Seat at the Table. They further collaborated on Scales at the Chinati Foundation, Marfa, TX, and Metatronia (Metatron’s Cube), 2018, a performance film choreographed by Gerard and Kelly and premiered at the Hammer Museum in collaboration with Uniqlo. In 2018, Soto designed sets and costumes for Davóne Tines’ and Michael Schachter’s The Black Clown, directed by Zack Winokur at the American Repertory Theater in Cambridge. In the same year he designed costumes for Sulayman al Bassam’s The Petrol Station at the Kennedy Center; they again collaborated on UR at the Residenztheater in Munich. In 2016 Soto designed costumes for a touring evening-length retrospective of Lucinda Childs’ works spanning dances from 1967 to today, culminating in a new work in collaboration with composers/instrumentalists Colin Stetson and Sarah Neufeld. Soto performed in Shara Nova (My Brightest Diamond) and Andrew Ondrejcak’s opera You Us We All, at Kampnagel, De Singel, Holland Festival and, most recently, at BAM Next Wave Festival 2015. Soto starred in Matthew Shattuck’s short film 50 Shades of Greige, commissioned by Nowness. In 2014, Soto collaborated with artist Davide Balula on a site-specific performance at the Palais de Tokyo, Paris, exploring connections between architecture, camouflage and dress.
Soto has worked with American artist and director Robert Wilson since 1997 as a performer, designer, and assistant on numerous productions in the U.S. and Europe, most recently performing in The Life and Death of Marina Abramovic, alongside Abramovic, Willem Dafoe and Anohni. He re-designed the costumes for the revival of Wilson’s and Philip Glass’s Einstein on the Beach. In May 2015, Soto designed costumes for Adam’s Passion, a collaboration with Wilson and Estonian composer Arvo Pärt, in Tallinn, Estonia. Most recently he designed costumes for Wilson’s staging of Sophocles’ Oedipus with German actress Angela Winkler and composer and saxophonist Richard Landry, staged among the ruins of Pompeii in the Teatro Grande (built ca. 200 B.C.E.), with subsequent tours to Palladio’s Teatro Olimpico, Vicenza (completed 1585), scheduled for performances at Naples’ Teatro Mercadante and the Epidaurus Festival in 2019.
Soto has also collaborated with and performed in works by Kristin Worrall, Andrew Ondrejcak, Kembra Pfahler and The Voluptuous Horror of Karen Black, Terence Koh, John Jahnke and The Hotel Savant, Dan Graham and Tony Oursler (Don’t Trust Anyone Over Thirty, 2005), among others.
Since the late 1960s, Robert Wilson’s productions have decisively shaped the look of theater and opera. Through his signature use of light, his investigations into the structure of a simple movement, and the classical rigor of his scenic and furniture design, Wilson has continuously articulated the force and originality of his vision. Wilson’s close ties and collaborations with leading artists, writers, and musicians continue to fascinate audiences worldwide.
CHRONOLOGY – PERFORMING ARTS
The following list only contains the opening dates and locations of the first opening of each piece. Revivals are not included, except the notable revivals of Einstein on the Beach and of works that changed considerably, e.g. by recasting the lead role (e.g. Orlando) or were revived in other language versions (e.g. The Lady from the Sea). If not noted otherwise, the Direction, Set and Lighting Design are by Robert Wilson.
2019
Jungle Book [Das Dschungelbuch] by Robert Wilson and CocoRosie, based on “The Jungle Book” by Rudyard Kipling (1894) [German version]. Jacques Reynaud (Costumes). Düsseldorfer Schauspielhaus, Düsseldorf, Germany, October 19, 2019.
Mary Said What She Said by Darryl Pinckney. Ludovico Einaudi (Music), Jacques Reynaud (Costumes). Théatre de la Ville (venue: Espace Cardin), Paris, France, May 22, 2019.
Jungle Book [Le livre de la jungle] by Robert Wilson and CocoRosie, based on “The Jungle Book” by Rudyard Kipling (1894) [French version]. Jacques Reynaud (Costumes). Grand Théâtre de la Ville, Luxembourg, April 26, 2019.
Otello by Giuseppe Verdi. Jacques Reynaud (Costumes). Baden-Baden Festival, Germany, April 13, 2019.
The Troubadour [Il trovatore] by Giuseppe Verdi. Julia von Leliwa (Costumes). Teatro Comunale, Bologna, Italy, January 22, 2019.
2018
Turandot by Giacomo Puccini. Jacques Reynaud (Costumes). Teatro Real, Madrid, Spain, November 30, 2018.
The Troubadour [Le trouvère] by Giuseppe Verdi [French version]. Julia von Leliwa (Costumes). Teatro Farnese (Verdi Festival), Parma, Italy, September 29, 2018.
Oedipus by Robert Wilson, based on Sophocles’ tragedy Oedipus Rex [Οἰδίπους Τύραννος]. Kinan Azmeh, Dickie Landry (Music); Carlos Soto (Costumes). Teatro Grande Scavi, Pompeii, Italy, July 5, 2018.
2017
LUTHER dancing with the gods by Robert Wilson. Johann Sebastian Bach, Knut Nystedt, Steve Reich (Music); Julia von Leliwa (Costumes); Gijs Leenaars (Musical Direction). Pierre Boulez Saal (Barenboim-Said Akademie), Berlin, Germany, October 6, 2017.
Hamletmachine[Hamletmaschine] by Heiner Müller [Italian version]. Jerry Leiber, Mike Stoller (Music). Spoleto, Italy, July 7, 2017.
The Sandman [Der Sandmann] by Anna Calvi and Robert Wilson, based on the eponymous story by E.T.A. Hoffmann. Anna Calvi (Music); Jacques Reynaud (Costumes). Ruhrfestspiele Recklinghausen, Germany, May 3, 2017.
Eddaby Jon Fosse, based on Old Norse mythology. CocoRosie (Music); Jacques Reynaud (Costumes). Det Norske Teatret, Oslo, Norway, March 4, 2017.
2016
Endgame [Fin de partie] by Samuel Beckett. Jacques Reynaud (Costumes), Hans-Peter Kuhn (Music). Berliner Ensemble, Berlin, Germany, December 3, 2016.
Garrincha—a street opera [Garrincha—Uma opera de rua] by Robert Wilson and Darryl Pinckney, based on an idea by Danilo Santos de Miranda. Carlos Soto (Costumes), Hal Willner (Music), Darryl Pinckney (Dramaturgy). Teatro Paulo Autran, São Paulo, Brazil, April 23, 2016.
2015
La Traviata by Giuseppe Verdi. Yashi (Costumes). Landestheater Linz / Musiktheater am Volksgarten, Linz, Austria, September 19, 2015.
Letter to a Man by Christian Dumais-Lvowski, based on the Diaries by Vaslav Nijinsky. Darryl Pinckney (Dramaturgy); Hal Willner (Music); Jacques Reynaud (Costumes). Caio Melisso Theater, Festival dei 2Mondi, Spoleto, Italy, July 8, 2015.
Pushkin’s Fairy Tales [Сказки Пушкина]. Based on selected Tales by Aleksandr Pushkin. CocoRosie (Music); Julia von Leliwa (Costumes); Douglas Wieselman (Musical Direction). State Theater of Nations, Moscow, June 16, 2015.
Adam’s Passion [Aadama Passioon] by Arvo Pärt and Robert Wilson. Arvo Pärt (Music); Carlos Soto (Costumes); Konrad Kuhn (Dramaturgy); Tonu Kaljuste (Musical Direction). Noblessner Foundry, Tallinn, Estonia, May 12, 2015.
Faust Part I and II [Faust. Der Tragödie Erster und Zweiter Teil] by Johann Wolfgang von Goethe. Herbert Grönemeyer (Music); Jacques Reynaud (Costumes); Jutta Ferbers, Anika Bardos (Dramaturgy). Berliner Ensemble, Berlin, Germany, April 22, 2015.
2014
The Blacks [Les Nègres] by Jean Genet. Dickie Landry (Music); Ellen Hammer (Dramaturgy); Moidele Bickel (Costumes). Odéon Théâtre de l’Europe, Paris, France, October 3, 2014.
Rhinoceros[Rhinocéros] by Eugéne Ionesco. Adam Lenz (Music); Konrad Kuhn (Dramaturgy); Tomasz Jeziorski (Video); Dan Dragoiescu (Sound Design). Teatrul National Marin Sorescu, Craiova, Romania, July 2, 2014.
The Coronation of Poppea [L’incoronazione di Poppea] by Claudio Monteverdi. Jacques Reynaud (Costumes); Rinaldo Alessandrini (Conductor). Paris National Opera, Palais Garnier, Paris, France, June 7, 2014.
1914, based on The Last Days of Mankind by Karl Kraus and The Good Soldier Švejk by Jaroslav Hašek. Aleš Březina, Hanuš Karlach, and Soňa Červená (Adaptation); Aleš Březina (Music); Jacques Reynaud (Costumes); Martin Urban (Dramaturgy). National Theater, Prague, Czech Republic, April 30, 2014.
2013
Monsters of Grace II, live radio-play by Robert Wilson. Iris Drögekamp, Peter Liermann (Dramaturgy); Dom Bouffard, Adam Lenz (Music). ARD Hörspieltage Festival at ZKM Center for Arts and Media, Karlsruhe, Germany, November 9, 2013.
The Little Match Girl [Das Mädchen mit den Schwefelhölzern] by Helmut Lachenmann. Emilio Pomàrico (Musical Direction); Norbert Ommer (Sound Design); Eva Dessecker (Costumes); Stephan Buchberger (Dramaturgy). Ruhrtriennale Festival at Jahrhunderthalle, Bochum, Germany, September 14, 2013.
The Old Woman by Daniil Kharms. Darryl Pinckney (Adaptation), Hal Willner (Music), Jacques Reynaud (Costumes). Performed by Mikhail Baryshnikov and Willem Dafoe. Manchester International Festival, Manchester, UK, July 4, 2013.
The Lady from the Sea by Susan Sontag, based on the eponymous play by Henrik Ibsen [Brazilian version]. Giorgio Armani (Costumes); Michael Galasso (Music). SESC Santos, Sao Paulo, Brazil, May 15, 2013.
Peter Pan by Erich Kästner, based on the novel by James Matthew Barrie. CocoRosie (Music); Jacques Reynaud (Costumes); Jutta Ferbers, Dietmar Böck (Dramaturgy). Berliner Ensemble, Berlin, April 17, 2013.
Macbethby Giuseppe Verdi. Jacques Reynaud (Costumes); Konrad Kuhn (Dramaturgy). Teatro Communale, Bologna, Italy, February 5, 2013.
Zinnias : The Life of Clementine Hunter by Robert Wilson, Bernice Johnson Reagon and Toshi Reagon (Libretto and Music) and Jacqueline Woodson (Story). Carlos Soto (Costumes). Alexander Kasser Theater at Montclair State University, Montclair, NJ, January 26, 2013.
2012
Odysseyafter Homer. Simon Armitage (Text); Thodoris Ekonomou (Music); Wolfgang Wiens (Dramaturgy); Yashi Tabassomi (Costumes); Hal Willner (Music Supervision). National Theatre of Greece, Athens, Greece, October 25, 2012.
Dom Pérignon, staged by Robert Wilson. Alexandre Desplat (Music). Performed by Lang Lang (Piano), Christopher Knowles and Watermill Center residents (Dance). Event commemorating Dom Pérignon champagnes Vintage 2003, Rosé 2000, and Oenotheque 1996 at the Chapelle Royale Versailles, France, September 10, 2012.
Via Crucis by Franz Liszt. Festival “pèlerinages” at Viehauktionshalle, Weimar, Germany, September 1, 2012.
Lecture on Nothing by John Cage. Arno Kraehahn (Music); Tomasz Jerziorski (Video). Performed by Robert Wilson. Ruhrtriennale Festival at Jahrhunderthalle, Bochum, Germany, August 22, 2012.
Einstein on the Beach by Philip Glass and Robert Wilson [revival]. Christopher Knowles, Samuel M. Johnson, Lucinda Childs (Texts); Lucinda Childs (Choreography). Opéra Berlioz – Le Corum, Montpellier, France, March 17, 2012.
2011
The Return of Ulisses to his Homeland [Il ritorno d’Ulisse in patria] by Claudio Monteverdi. Jacques Reynaud (Costumes); Rinaldo Alessandrini (Conductor). Teatro alla Scalla, Milan, Italy, September 19, 2011.
The Life and Death of Marina Abramović by Robert Wilson and Marina Abramović. Antony (Music); William Basinski (Composer and Music Curator); Jacques Reynaud (Costumes); Wolfgang Wiens (Dramaturgy); Nick Sagar (Sound Design). Manchester International Festival, Manchester, UK, July 9, 2011.
Lulu by Frank Wedekind. Lou Reed, Hal Willner (Music); Jacques Reynaud (Costumes). Berliner Ensemble, Berlin, Germany, April 12, 2011.
Norma by Vincenzo Bellini. Moidele Bickel (Costumes); Paolo Carignani (Conductor). Opernhaus Zürich, Zurich, Switzerland, February 27, 2011.
2010
The Makropulos Case [Věc Makropulos] by Karl Čapek. Aleš Březina (Music); Jacques Reynaud (Costumes). Narodni Divadlo, Prague, Czech Republic, November 18, 2010.
Katya Kabanova [Káťa Kabanová] by Leoš Janáček. Yashi Tabassomi (Costumes); Tomáš Netopil (Conductor). Narodni Divadlo, Prague, Czech Republic, June 26, 2010.
1433—The Grand Voyage [鄭和1433]. Ruo-Yu Liu (Script); Ornette Coleman, Dickie Landry, Chih-Chun Huang (Music); Tim Yip (Costumes). Chiang Kai-Shek Cultural Center, Taipei, Taiwan, February 20, 2010.
2009
Orpheus [L’Orfeo] by Claudio Monteverdi. Jacques Reynaud (Costumes); Rinaldo Alessandrini (Conductor). Teatro alla Scala, Milan, Italy, September 19, 2009.
Krapp’s Last Tape by Samuel Beckett. Yashi Tabassomi (Costumes). Performed by Robert Wilson. Festival of the Two Worlds, Caio Melisso Theater, Spoleto, Italy, June 28, 2009.
The Freeshooter [Der Freischütz] by Carl Maria Weber. Viktor & Rolf (Costumes); Thomas Hengelbrock (Conductor). Festspielhaus Baden-Baden, Germany, May 31, 2009.
KOOL—Dancing in my mind. A tribute to Suzushi Hanayagi. David Byrne, Johann Sebastian Bach, Ishmael Reed (Music); Suzushi Hanayagi, Carla Blank, Jonah Bokaer, Illenk Gentille (Choreography); Carlos Soto (Costumes); Richard Rutkowski (Video). Guggenheim Museum, New York, NY, April 17, 2009.
Shakespeare’s Sonnets [Shakespeares Sonette], a selection of Sonnets by William Shakespeare [German version]. Rufus Wainwright (Music); Jacques Reynaud (Costumes). Berliner Ensemble, Berlin, Germany, April 12, 2009.
Orlando. Based on the novel by Virginia Woolf [Chinese version]. Virginia Woolf (Text); Robert Wilson, Darryl Pinckney (Adaptation); Hans Peter Kuhn (Music). Performed by Hai-Ming Wei. National Theater, Taipei, Taiwan, February 21, 2009.
2008
Faustby Charles Gounod. Jonah Bokaer (Choreography); Jacques Reynaud (Costumes); Gabriel Chmura (Conductor). Polish National Opera, Teatr Wielki, Warsaw, Poland, October 26, 2008.
Happy Days [Oh les beaux jours] by Samuel Beckett. Jacques Reynaud (Costumes). Grand Théâtre de Luxembourg, September 24, 2008.
The Lady from the Sea by Susan Sontag, based on the eponymous play by Henrik Ibsen [Spanish version]. Giorgio Armani (Costumes); Michael Galasso (Music). Matadero, Madrid, Spain, March 27, 2008.
2007
The Threepenny Opera [Die Dreigroschenoper] by Bertolt Brecht and Kurt Weill. Jacques Reynaud (Costumes); Hans-Jörn Brandenburg, Stefan Rager (Musical Direction). Berliner Ensemble, Berlin, Germany, September 27, 2007.
Saint John Passion [Johannespassion] by Johann Sebastian Bach. Lucinda Childs (Choreography of Solo Dances); Frida Parmeggiani (Costumes); Rolf Beck (Conductor). Théâtre du Châtelet, Paris, France, June 14, 2007.
RUMI – in the Blink of the Eye by Robert Wilson and Kudsi Erguner, based on a poem by Mewlana Djalal-od-Din-Rumi. Kudsi Erguner (Music); Peter Cerone (Sound Design); Christophe de Menil (Costumes). Attiki Cultural Society’s Spring Theater Festival, Pallas Theater, Athens, Greece, May 28, 2007.
2006
Quartet [Quartett] by Heiner Müller [French version]. Based on Les Liaisons Dangereuses by Choderlos de Laclos. Michael Galasso (Music); Frida Parmeggiani (Costumes). Odéon Théâtre de l’Europe, Paris, France, September 28, 2006.
Expectation [Erwartung] by Arnold Schoenberg [revival] & ‘Murder Scene’ from Deafman Glance by Robert Wilson. Moidele Bickel (Costumes). Performed by Anja Silja (‘Murder Scene’ by Anja Silja and Robert Wilson). Berlin State Opera, Berlin, Germany, September 2, 2006.
The Lady from the Sea by Susan Sontag, based on the eponymous play by Henrik Ibsen [Polish version]. Giorgio Armani (Costumes); Michael Galasso (Music). Dramatic Theater (Teatr Dramatyczny), Warsaw, Poland, May 16, 2006.
2005
A Winter’s Tale by William Shakespeare. Jacques Reynaud (Costumes). Berliner Ensemble, Berlin, Germany, September 24, 2005.
Peer Gynt by Henrik Ibsen. Michael Galasso (Music); Jaques Reynaud (Costumes). Det Norske Teatret, Oslo, Norway, February 19, 2005.
2004
2Lips and Dancers and Space : A Dance in Four Parts by Robert Wilson. Michael Galasso (Music); Christopher Knowles, Lucrece (Additional Texts); Viktor & Rolf (Costumes). Performed by the Nederlands Dans Theater (NDT) III. Théâtre de la Ville, Luxembourg, November 10 , 2004.
The Black Rider : The Casting of the Magic Bulletsby Robert Wilson, Tom Waits and William S. Burroughs. Based on Der Freischütz by August Apel and Friedrich Laun, and on The Fatal Marksman by Thomas de Quincey [English version]. Frida Parmeggiani (Costumes). Barbican Centre, London, UK, May 17, 2004.
I La Galigo, inspired by the Bugis epic poem Sureq Galigo. Rahayu Supanggah (Music); Rhoda Grauer (Adaptation); Joachim Herzog (Costumes). Esplanade Theatres on the Bay, Singapore, March 12, 2004.
The Fables of La Fontaine [Les Fables de la Fontaine], based on Jean de La Fontaine’s Anthology. Michael Galasso (Music), Moidele Bickel (Costumes). Comédie Française, Paris, France, January 30, 2004.
2003
The Woman without a Shadow [Die Frau ohne Schatten] by Richard Strauss. Paris National Opera / Opéra Bastille, Paris, France, December 9, 2003.
The Temptation of St. Anthony based on Gustave Flaubert. Bernice Johnson Reagon (Music and Lyrics); Wolfgang Wiens (Adaptation). Ruhrtriennale Festival at Gebläsehalle, Duisburg, Germany, June 20, 2003.
Leonce and Lena [Leonce und Lena] by Georg Büchner. Herbert Grönemeyer (Music); Jacques Reynaud (Costumes). Berliner Ensemble, Berlin, Germany, May 1, 2003.
2002
White Town, an homage to Arne Jacobsen, commissioned by the Kulturbro Biennial Copenhagen. Bellevue Teatret, Copenhagen, Denmark, October 24, 2002.
The Ring of the Nibelung : Twilight of the Gods [Der Ring des Nibelungen : Götterdämmerung] by Richard Wagner. Frida Parmeggiani (Costumes); Franz Welser-Möst (Musical Direction). Opernhaus Zürich, Zurich, Switzerland, May 20, 2002.
Destiny [Osud] by Leoš Janáček. Jacques Reynaud (Costumes); Jiří Bělohlávek (Musical Direction). National Theater Prague, Czech Republic, April 19, 2002.
Doctor Caligari by Robert Wilson, based on the film Das Kabinett des Dr. Caligari by Carl Mayer, Hans Janowitz and Robert Wiene. Michael Galasso (Music); Jacques Reynaud (Costumes). Deutsches Theater, Berlin, Germany, March 26, 2002.
Aida by Giuseppe Verdi. Jacques Reynaud (Costumes); Antonio Pappano (Musical Direction). Royal Theatre of the Mint (Théâtre Royal de la Monnaie / Koninklijke Muntschouwburg), Brussels, Belgium, January 30, 2002.
2001
The Ring of the Nibelung : Siegfried [Der Ring des Nibelungen : Siegfried] by Richard Wagner. Frida Parmeggiani (Costumes); Franz Welser-Möst (Musical Direction). Opernhaus Zürich, Zurich, Switzerland, November 18, 2001.
Winter Journey [Winterreise] by Franz Schubert. Yves Saint-Laurent (Costumes). Performed by Jessye Norman and Mark Markham. Théâtre du Châtelet, Paris, France, September 24, 2001.
Three Sisters [Три сестры] by Anton Chechov. Michael Galasso (Music); Ronald Hallgren (Sound); Jacques Reynaud (Costumes). City Theater (Stadsteatern), Stockholm, Sweden, September 12, 2001.
The Ring of the Nibelung : The Valkyrie [Der Ring des Nibelungen : Die Walküre] by Richard Wagner. Frida Parmeggiani (Costumes); Franz Welser-Möst (Musical Direction). Opernhaus Zürich, Zurich, Switzerland, May 27, 2001.
Prometheus by Robert Wilson. Iannis Xenakis (Music); Franca Squarciapino (Costumes); Peter Cerone (Video); Alexandros Myrat (Musical Direction). Athens Concert Hall (Cultural Olympics 2001-2004), Athens, Greece, January 27, 2001.
2000
Woyzeck by Tom Waits, Kathleen Brennan and Robert Wilson, after the eponymous play fragment by Georg Büchner. Wolfgang Wiens, Ann-Christin Rommen (Adaptation); Jacques Reynaud (Costumes). Betty Nansen Theater, Copenhagen, Denmark, November 18, 2000.
The Ring of the Nibelung : The Rhine Gold [Der Ring des Nibelungen : Das Rheingold] by Richard Wagner. Frida Parmeggiani (Costumes); Franz Welser-Möst (Musical Direction). Opernhaus Zürich, Zurich, Switzerland, October 8, 2000.
Relative Light by Robert Wilson. Johann Sebastian Bach, John Cage (Music); Christophe de Menil (Costumes). Claustro de la Universidad de Valencia (Institut Valencià de la Música), Valencia, Spain, July 11, 2000.
Hot Water by Robert Wilson. Susanne Raschig, Dorothée Uhrmacher (Costumes); Chris Kondek (Video); Christophe Martin (Stage Architecture). Performed by BARTO. Singapore Arts Festival, Singapore, June 14, 2000.
POEtry by Robert Wilson and Lou Reed, based on the works of Edgar Allan Poe. Jacques Reynaud (Costumes). Thalia Theater, Hamburg, Germany, February 13, 2000.
1999
Orpheus and Eurydice [Orphée et Euridice] by Christoph Willibald Gluck. Frida Parmeggiani (Costumes); Sir John Eliot Gardiner (Musical Direction). Théâtre du Châtelet, Paris, France, October 8, 1999.
THE DAYS BEFORE : death, destruction and detroit III by Robert Wilson. Umberto Eco, Christopher Knowles (Texts); Ryuichi Sakamoto (Music); Jacques Reynaud (Costumes). Lincoln Center Festival at New York State Theater, New York City, NY, July 7, 1999.
Scourge of Hyacinths by Tania León (Music) and Wole Soyinka (Text). Susanne Raschig (Costumes). Salle Théodore Turrettini, Bâtiment des Forces Motrices, Geneva, Switzerland, January 17, 1999.
1998
70 ANGELS ON THE FAÇADE : Domus 1928-1998. Lisa Ponti, Christopher Knowles (Texts); A.J. Weissbard (Lighting); Peter Bottazzi (Sets and Images); Jacques Reynaud (Costumes); Peter Cerone (Sound). Nuovo Piccolo Teatro, Milan, Italy, December 1, 1998.
Dream Play [Ett Drömspel] by August Strindberg. Michael Galasso (Music); Jacques Reynaud (Costumes). Stadsteater, Stockholm, Sweden, November 15, 1998.
White Raven [O Corvo Branco] by Robert Wilson and Philip Glass. Luísa Costa Gomes (Text); Moidele Bickel (Costumes); Dennis Russell Davies (Musical Direction). Sala Júlio Verne, Teatro Camões (Expo ’98), Lisbon, Portugal, September 26, 1998.
Danton’s Death [Dantons Tod] by Georg Büchner [Salzburg version]. Frida Parmeggiani (Costumes); Thierry de Mey (Music). Landestheater (Salzburger Festspiele), Salzburg, Austria, July 25, 1998.
Wings on Rock, based on The Little Prince by Antoine de Saint-Exupéry. Pascal Comelade (Music); Kenzo Takada (Costumes). Performed by François Chat and Marianna Kavallieratos. Théâtre Gérard Philipe / Festival de St. Denis, Paris, France, June 15, 1998.
The Lady from the Sea by Susan Sontag, based on the eponymous play by Henrik Ibsen [Italian version]. Giorgio Armani (Costumes); Michael Galasso (Music). Teatro Comunale di Ferrara, Italy, May 5, 1998.
Monsters of Grace : A Digital Opera in Three Dimensions by Philip Glass and Robert Wilson. Robert Wilson (Design and Visual Concept); Philip Glass (Music); Rumi (Lyrics); Kurt Munkacsi (Sound Design); Michael Riesman (Musical Direction); Kleiser-Walczak Construction Company (Film and Computer Animation). Royce Hall at UCLA Center for the Performing Arts, University of California, Los Angeles, CA, April 15, 1998.
Lohengrin by Richard Wagner [US revival]. Frida Parmeggiani (Costumes); James Levine (Musical Direction). Metropolitan Opera, New York City, NY, March 9, 1998.
The Flight across the Ocean [Der Ozeanflug] by Bertolt Brecht. Hans Peter Kuhn (Music); Jacques Reynaud (Costumes). Berliner Ensemble, Berlin, Germany, January 28, 1998.
1997
Saints and Singing by Robert Wilson and Hans Peter Kuhn, after Gertrude Stein. Gertrude Stein (Text); Hans Peter Kuhn (Music); Hans Thiemann (Costumes). Hebbel Theater, Berlin, Germany, November 4, 1997.
Prometheus : A Tragedy of Listening [Prometeo : Tragedia dell’ascolto] by Luigi Nono (Music) and Massimo Cacciari (Text). André Richard (Sound Environment), Stefan Hageneier (Costumes). Halles de Schaerbeek / Festival Ars Musica, produced by La Monnaie), Brussels, Belgium, March 4, 1997.
Pelléas and Mélisande [Pelléas et Mélisande] by Claude Debussy (Music) and Maurice Maeterlinck (Text). Frida Parmeggiani (Costumes). Paris National Opera / Palais Garnier, Paris, France, February 7, 1997.
1996
Oedipus Rex by Igor Stravinsky, with a Silent Prologue by Robert Wilson. Igor Stravinsky (Music); Jean Cocteau (Text). Théâtre du Châtelet, Paris, France, November 12, 1996.
Orlando. Based on the novel by Virginia Woolf [English version]. Virginia Woolf (Text); Robert Wilson, Darryl Pinckney (Adaptation); Hans Peter Kuhn (Music). Performed by Miranda Richardson. Royal Lyceum Theatre / Edinbugh Festival, Edinburgh, Scotland, August 13, 1996.
G.A. Story : Giorgio Armani: His Story, His Fashion [la sua storia, la sua moda] by Robert Wilson. Stazione Leopolda, Florence, Italy, June 21, 1996.
Time Rocker by Robert Wilson, Darryl Pinckney (Text) and Lou Reed (Music and Lyrics). Thalia Theater, Hamburg, Germany, June 12, 1996.
The Malady of Death [La Maladie de la mort] by Marguerite Duras. Hans Peter Kuhn (Music); Frida Parmeggiani (Costumes). Performed by Lucinda Childs and Michel Piccoli. Théâtre Vidy-Lausanne, Lausanne, Switzerland, May 7, 1996.
Four Saints in Three Acts by Virgil Thomson (Music) and Gertrude Stein (Text). Francesco Clemente (Costumes); Jennifer Tipton (Lighting). Brown Theater / Houston Grand Opera, Houston, TX, January 26, 1996.
1995
Snow on the Mesa (dance piece). Paul Schmidt (Text); Donna Karan (Costumes). Performed by the Martha Graham Dance Company. Eisenhower Theater / Kennedy Center, Washington, DC, November 2, 1995.
Persephone. Homer, Brad Gooch, Maita di Niscemi (Texts); Gioachino Rossini, Philip Glass (Music); Christophe de Menil (Costumes). Ancient Stadium of Delphi (International Meeting of Ancient Greek Drama, Theatre Olympics), Delphi, Greece, August 27, 1995.
Bluebeard’s Castle [A kékszakállú herceg vára] by Bela Bartók & Expectation [Erwartung] by Arnold Schoenberg. Large Festival Hall (Salzburger Festspiele), Salzburg, Austria, August 24, 1995.
HAMLET : a monologue, based on the play by William Shakespeare. Robert Wilson, Wolfgang Wiens (Adaptation); Hans Peter Kuhn (Music). Performed by Robert Wilson. Alley Theatre, Houston, TX, May 24, 1995.
1994
Skin, Meat, Bone : The Wesleyan Project by Robert Wilson and Alvin Lucier. Theater Center for the Arts, Wesleyan University, Middletown, CT, November 20, 1994.
The Meek Girl, based on the short story “The Meek One” [Кроткая] by Fyodor Dostoyevsky. Robert Wilson, Wolfgang Wiens (Adaptation); Stefan Kurt, Gerd Bessler (Music). Performed by Robert Wilson, Charles Chemin, Marianna Kavallieratos and Thomas Lehmann. MC 93 Bobigny (Festival d’Automne), Paris, France, October 11, 1994.
T.S.E. : “come in under the shadow of this red rock” by Robert Wilson. T. S. Eliot and others (Texts); Philip Glass (Music). Case di Stefano (Orestiadi di Gibellina), Gibellina, Italy, September 3, 1994.
Hanjo / Hagoromo : Japanese Diptych [Dittico Giapponese] by Yukio Mishima (Hanjo) and Zeami (Hagoromo). Marcello Panni (Hanjo Music and Libretto); Jo Kondo (Hagoromo Music and Libretto). Teatro della Pergola (Teatro Comunale di Firenze, Maggio Musicale Fiorentino), Florence, Italy, June 13, 1994.
The Moon in the Grass : once never forever [Der Mond im Gras : einmal keinmal immer] by Robert Wilson. Based on stories by the Brothers Grimm and Georg Büchner. Robyn Schulkowsky (Music). Münchner Kammerspiele, Munich, Germany, April 10, 1994.
1993
Madama Butterfly by Giacomo Puccini. Frida Parmeggiani (Costumes); Suzushi Hanayagi (Choreography). Paris National Opera / Opéra Bastille, Paris, France, November 19, 1993.
Alice in Bed by Susan Sontag. Hans Peter Kuhn (Music). Hebbel Theater, Berlin, Germany, September 15, 1993.
Orlando. Based on the novel by Virginia Woolf [French version]. Virginia Woolf (Text); Robert Wilson, Darryl Pinckney (Adaptation); Hans Peter Kuhn (Music). Performed by Isabelle Huppert. Théâtre Vidy-Lausanne, Lausanne, Switzerland, May 9, 1993.
1992
Alice by Robert Wilson, Paul Schmidt (Text), Tom Waits and Kathleen Brennan (Music and Lyrics). Based on Alice in Wonderland by Lewis Carroll. Thalia Theater, Hamburg, Germany, December 19, 1992.
Danton’s Death [Dantons Tod] by Georg Büchner [English version]. Robert Auletta (Translation); Frida Parmeggiani (Costumes). Alley Theatre, Houston, TX, October 27, 1992.
Don Juan Último by Vicente Molina Foix. Mariano Díaz (Music); Frida Parmeggiani (Costumes). Teatro María Guerrero (Festival de Otoño), Madrid, Spain, September 26, 1992.
Einstein on the Beach by Philip Glass and Robert Wilson [revival]. Christopher Knowles, Samuel M. Johnson, Lucinda Childs (Texts); Lucinda Childs (Choreography). McCarter Theater, Princeton, NJ, July 24, 1992.
The Malady of Death [La Maladie de la mort] by Marguerite Duras [German version]. Peter Handke (German Translation); Hans Peter Kuhn (Music); Frida Parmeggiani (Costumes). Schaubühne am Lehniner Platz, Berlin, Germany, December 21, 1991.
Lohengrin by Richard Wagner. Frida Parmeggiani (Costumes). Opernhaus Zürich, Zurich, Switzerland, September 21, 1991.
The Magic Flute [Die Zauberflöte] by Wolfgang Amadeus Mozart. Kenzo Takada (Costumes), Andrew de Groat (Choreography). Paris National Opera / Opéra Bastille, Paris, France, June 26, 1991.
Parsifal by Richard Wagner. Frida Parmeggiani (Costumes). Hamburgische Staatsoper, Hamburg, Germany, March 21, 1991.
When We Dead Awaken [Når vi døde vågner] by Henrik Ibsen. Robert Brustein (English Translation); Robert Wilson (Adaptation); Charles “Honi” Coles (Music). Loeb Drama Center (American Repertory Theatre), Cambridge, MA, February 14, 1991.
1990
What Room : A Play for 3 Minutes by Robert Wilson. Loeb Drama Center (American Repertory Theatre), Cambridge, MA, May 1990.
King Lear by William Shakespeare. Bockenheimer Depot (Schauspielhaus Frankfurt), Frankfurt, Germany, May 26, 1990.
The Black Rider : The Casting of the Magic Bulletsby Robert Wilson, Tom Waits and William S. Burroughs. Based on Der Freischütz by August Apel and Friedrich Laun, and on The Fatal Marksman by Thomas de Quincey. Frida Parmeggiani (Costumes). Thalia Theater, Hamburg, Germany, March 31, 1990.
1989
Swan Song [Лебединая песнь] by Anton Chekhov. Münchner Kammerspiele, Munich, Germany, December 20, 1989.
Orlando. Based on the novel by Virginia Woolf [German version]. Virginia Woolf (Text); Robert Wilson, Darryl Pinckney (Adaptation); Hans Peter Kuhn (Music). Performed by Jutta Lampe. Schaubühne am Lehniner Platz, Berlin, Germany, November 21, 1989.
The Night before the Day [La Nuit d’Avant le Jour]. (Inauguration of the Opéra Bastille, in commemoration of the French bicentennial). Musical selections by Gounod, Meyerbeer, Massenet, Gluck, Saint-Saens, Bizet, and Berlioz. Paris National Opera, Paris, France, July 13, 1989.
Matter [De Materie] by Louis Andriessen [World Premiere]. Het Muziektheater (Netherlands Opera), Amsterdam, Netherlands, June 1, 1989.
Doctor Faustus by Giacomo Manzoni. Based on the novel by Thomas Mann. Gianni Versace (Costumes). Teatro alla Scala, Milan, Italy, May 16, 1989.
1988
Quartet [Quartett] by Heiner Müller [US version]. Based on Les Liaisons Dangereuses by Choderlos de Laclos. Martin Pearlman (Music). Loeb Drama Center (American Repertory Theater), Cambridge, MA, February 10, 1988.
The Martyrdom of Saint Sebastian [Le Martyre de Saint Sébastien] by Gabriele d’Annunzio (Text) and Claude Debussy (Incidental Music). Robert Wilson, Suzushi Hanayagi (Choreography). MC 93 Bobigny (Théâtre National, Opéra de Paris), Paris, France, March 28, 1988.
Cosmopolitan Greetings. Allen Ginsberg (Text); Rolf Liebermann, George Gruntz (Music). Kampnagelfabrik (Hamburg State Opera), Hamburg, Germany, June 11, 1988.
The Forest. Heiner Müller, Darryl Pinckney (Text), David Byrne (Music). Theater der Freien Volksbühne, Berlin, Germany, October 18, 1988.
1987
Salome by Richard Strauss. Gianni Versace (Costumes). Teatro alla Scala, Milan, Italy, January 11, 1987.
Death, Destruction, and Detroit II by Robert Wilson. Franz Kafka, Heiner Müller, Robert Wilson, Maita di Niscemi, Cynthia Lubar (Texts); Suzushi Hanayagi (Choreography); Hans Peter Kuhn (Music/Sound). Schaubühne am Lehniner Platz, Berlin, Germany, February 27, 1987.
Alcestis by Euripides [German version]. Friederieke Roth, Ann-Christin Rommen (Translation); Suzushi Hanayagi (Choreography). Theater der Welt Festival, Staatstheater Stuttgart, Germany, April 16, 1987.
Quartet [Quartett] by Heiner Müller. Based on Les Liaisons Dangereuses by Choderlos de Laclos. Christoph Eschenbach (Music). Schlosstheater Ludwigsburg (Theater der Welt Festival Stuttgart), Ludwigsburg, Germany, June 18, 1987.
Parzival : On the Other Side of the Lake [Parzival : Auf der anderen Seite des Sees] by Robert Wilson and Tankred Dorst. Tankred Dorst, Christopher Knowles (Texts); Tassilo Jelde (Music). Thalia Theater, Hamburg, Germany, September 11, 1987.
1986
Alceste by Christoph Willibald Gluck. Suzushi Hanayagi (Choreography). Württembergisches Staatstheater, Stuttgart, Germany, December 5, 1986.
Hamletmachine[Hamletmaschine] by Heiner Müller [Hamburg version]. Jerry Leiber, Mike Stoller (Music). Theater in der Kunsthalle, Hamburg, Germany, October 4, 1986.
Hamletmachine[Hamletmaschine] by Heiner Müller [New York version]. Jerry Leiber, Mike Stoller (Music). Mainstage Two (New York University, Tisch Scool of the Arts), New York City, NY, May 7, 1986.
Alcestis by Euripides. Robert Wilson (Adaptation); Dudley Fitts, Robert Fitzgerald (Translation); Heiner Müller (Add’l. Texts); Hans Peter Kuhn, Laurie Anderson (Music); Suzushi Hanayagi (Choreography). Loeb Drama Center (American Repertory Theater), Cambridge, MA, March 12, 1986.
1985
The Knee Plays [from the CIVIL warS] by Robert Wilson and David Byrne. David Byrne (Music, Texts); Suzushi Hanayagi (Choreography). Schauspielhaus (Theater der Welt Festival), Frankfurt, Germany, September 20, 1985.
The Golden Windows by Robert Wilson [US revival]. Tania León, Gavin Bryars, Hans Peter Kuhn (Music); Christophe de Menil (Costumes). Carey Playhouse, Brooklyn Academy of Music (Next Wave Festival), New York City, NY, October 22, 1985.
1984
Einstein on the Beach by Philip Glass and Robert Wilson [revival]. Christopher Knowles, Samuel M. Johnson, Lucinda Childs (Texts); Lucinda Childs (Choreography). Brooklyn Academy of Music, Opera House (Next Wave Festival), New York City, NY, December 11, 1984.
Medea by Robert Wilson and Gavin Bryars. Based on the play by Euripides. Gavin Bryars (Music); Heiner Müller, Vladimir Mayakovsky (Add’l. Texts). Opéra de Lyon, France, October 23, 1984.
Medea [Médée] by Marc-Antoine Charpentier. Opéra de Lyon, France, October 22, 1984.
the CIVIL warS : a tree is best measured when it is down [Marseille Workshop (Act II, Scenes A & B; Act III, Scenes A & B)]. Etel Adnan (Text); music by Gavin Bryars. La Sainte Baume, Marseille, France, February 13, 1984.
the CIVIL warS : a tree is best measured when it is down [Tokyo Workshop (Act I, Scene C; Act II, Scene C; Act III, Scenes C & D)]. Tokyo, Japan, February 10, 1984.
the CIVIL warS : a tree is best measured when it is down [Rome Section (Prologue and Act V)] by Robert Wilson and Philip Glass. Philip Glass (Music); Maita di Niscemi (Text); Jim Self (Choreography); Christophe de Menil (Costumes). Teatro dell’ Opera, Rome, Italy, March 25, 1984.
the CIVIL warS : a tree is best measured when it is down [Cologne Section (Act I, Scene A; Act III, Scene E; Act IV, Scene A and Epilogue)] by Robert Wilson and Heiner Müller. Philip Glass, David Byrne, Hans Peter Kuhn, Frederick the Great, Thomas Tallis, Franz Schubert (Music). Schauspielhaus, Cologne, Germany, January 19, 1984.
1983
the CIVIL warS : a tree is best measured when it is down [Rotterdam Section (Act I, Scene B)] by Robert Wilson. Nicolas Economou (Music); Jim Self (Choreography); Christophe de Menil (Costumes); Maita di Niscemi (Add’l. Texts). Schouwburg Theater, Rotterdam, Netherlands, September 6, 1983.
1982
Great Day in the Morning by Robert Wilson and Jessye Norman. Jessye Norman and Charles Lloyd, Jr. (Music arr.). Théâtre des Champs-Elysées, Paris, France, October 12, 1982.
the CIVIL warS : a tree is best measured when it is down [second workshop “final review”]. Freiburg im Breisgau, Germany, June 26, 1982.
The Golden Windows [Die Goldenen Fenster] by Robert Wilson. Tania Léon, Gavin Bryars, Johann Pepusch (Music). Münchner Kammerspiele, Munich, Germany, May 29, 1982.
1981
Relative Calm by Lucinda Childs. Lucinda Childs (Dir.); Robert Wilson (Light, Set); Jon Gibson (Music). Théâtre National de Strasbourg, France, November 16, 1981.
The Man in the Raincoat by Robert Wilson. Hans Peter Kuhn (Music). Performed by Robert Wilson. Schauspielhaus Köln (Theater der Welt Festival), Cologne, Germany, June 27, 1981.
1980
DiaLog/Curious George by Robert Wilson and Christopher Knowles. Christopher Knowles (Text). Teatro Nuovo (Cabaret Voltaire, Rassegna Internazionale del Teatro d’Avanguardia), Turin, Italy, March 10, 1980.
Overture to the Fourth Act of Deafman Glance by Robert Wilson. Performed by Robert Wilson. Raffinerie Plan K, Brussels, Belgium, February 25, 1980.
1979
Edison by Robert Wilson. Maita de Niscemi (Add’l. Text); Michael Riesman and others (Music). Lion Theater, New York City, June 19-24 (preview). Théâtre National Populaire, Villeurbanne, France, October 9, 1979.
Death, Destruction, and Detroit : a play with music in 2 acts – a love story in 16 scenes by Robert Wilson. Alan Lloyd, Keith Jarrett, Randy Newman (Music); Maita de Niscemi (Add’l. Texts). Schaubühne am Halleschen Ufer, Berlin, Germany, February 12, 1979.
1978
Prologue to Deafman Glance by Robert Wilson. Manhattanville College, Purchase, NY, July 12, 1978.
1977
DiaLog/Network by Christopher Knowles and Robert Wilson. Christopher Knowles (Text). Spazio Teatro Sperimentale, Florence, Italy, October 15, 1977.
I was sitting on my patio this guy appeared I thought I was hallucinating by Robert Wilson. Lucinda Childs (Co-Dir.); Alan Lloyd (Music). Performed by Robert Wilson and Lucinda Childs. Quirk Auditorium (Eastern Michigan University), Ypsilanti, MI, April 2, 1977.
1976
reconfirmation of reservations [Robert Wilson solo]. Salone Pier Lombardo, Milan, June 7-10. Teatro Comunale, Brescia, Italy, June 25, 1976.
Bob Wilson Solo [including excerpts from Deafman Glance, A Letter for Queen Victoria, and The King of Spain]. Salle Vilar, Maison de la Culture de Rennes, France, October 28.
Einstein on the Beach by Robert Wilson and Philip Glass. Philip Glass (Music); Christopher Knowles, Samuel M. Johnson, Lucinda Childs (Texts); Andrew de Groat (Choreography). Théâtre Municipal (Festival d’Avignon), Avignon, France, July 25, 1976.
DiaLog [3] by Robert Wilson and Christopher Knowles. Performed by Robert Wilson, Christopher Knowles, and Lucinda Childs. Whitney Museum, New York City, NY, February 19, 1976.
1975
To Street : One Man Show. Performed by Robert Wilson. Kultur Forum, Bonn Center, Germany, September 20, 1975.
DiaLog [2] by Robert Wilson and Christopher Knowles. Performed by Robert Wilson and Christopher Knowles. Connecticut College (American Dance Festival), New London, Conn., July 29. The Public Theater/Anspacher, New York City, NY, August 7, 1975.
The $ Value of Man by Robert Wilson and Christopher Knowles. Robert Wilson and Christopher Knowles (Texts); Michael Galasso (Music); Andrew de Groat (Chor.). Lepercq Space, Brooklyn Academy of Music, New York City, NY, May 8, 1975.
A Solo Reading. Robert Wilson (Voice and drawings); Alan Lloyd (Music). 147 Spring Street (Byrd Hoffman Foundation), New York City, NY, February 2, 1975.
Dialog of the Sundance Kid [reading] by Christopher Knowles and Robert Wilson. Performed by Christopher Knowles and Robert Wilson. St. Marks Church (St. Marks Poetry Project), New York City, NY, January 1, 1975.
1974
A Letter for Queen Victoria by Robert Wilson. Christopher Knowles, Cynthia Lubar, Stefan Brecht, James Neu (Add’l. Texts); Alan Lloyd, Michael Galasso (Music); Andrew de Groat (Chor.). Performed by Robert Wilson and members of the Byrd Hoffman School of Byrds. Teatro Caio Melisso (Festival dei Due Mondi Spoleto), Spoleto, Italy, June 15, 1974.
DiaLog/A Mad Man A Mad Giant A Mad Dog A Mad Urge A Mad Face by Robert Wilson and Christopher Knowles. Performed by Robert Wilson, Christopher Knowles, and others. Villa Borghese (Contemporanea festival), Rome, Italy, March 3, 1974.
1973
The Life and Times of Joseph Stalin by Robert Wilson. Alan Lloyd, Igor Demjen, Julie Weber, Michael Galasso (Music); Robert Wilson, Cynthia Lubar, Christopher Knowles, Ann Wilson (Texts); Andrew de Groat (Chor.). Performed by Robert Wilson and the Byrd Hoffman School of Byrds. Det Ny Teater, Copenhagen, September 7-14 (previews). Brooklyn Academy of Music, Opera House, New York City, NY, December 14, 1973.
King Lyre and Lady in the Wasteland. Performed by Robert Wilson and Elaine Luthy. 147 Spring Street (Byrd Hoffman Foundation), New York City, NY, May 12, 1973.
The Byrd Hoffman School of Byrds Spring Student Concerts. Included: Solos; Macrame Trio; Ramona’s Engagemet [sic] Ring, by Jessie Dunn Gilbert; Lullabye, by Minda Novek; The Cradle Song, by Hope Kondrat; Orange Airplane, by Alan Lloyd; Memories, by Sue Sheehy; Reading, by Pontease Tyak; Solo Pablo Rimbaud; and Reception Play. Unknown location [probably 147 Spring St., New York City, NY], May 7, 1973.
Workshop/Performance. Performed by Robert Wilson and Byrd Hoffman School of Byrds. Naropa Institute, Boulder, CO, 1973.
1972
Overture [Paris (Overture for KA MOUNTAIN AND GUARDenia TERRACE)]. Robert Wilson, Melvin Andringa, Kathryn Kean, Kikuo Saito, Ann Wilson and others (Design); Igor Demjen (Music/Sound). Performed by Robert Wilson and the Byrd Hoffman School of Byrds. Musée Galliéra (Festival d’Automne and Théâtre des Nations), Paris, France, November 6-11, 1972 (six-day exhibit with occasional performances). – Opéra Comique (Festival d’Automne and Théâtre des Nations), Paris, France, November 12, 1972 [entitled CYNDI. Robert Wilson (Dir.); Robert Wilson, Cynthia Lubar and Ann Wilson (Texts); Igor Demjen (Music/Sound); Andrew de Groat (Chor.); Robert Wilson, Paul Thek (Set). Continuous 24-hour performance].
KA MOUNTAIN AND GUARDenia TERRACE: a story about a family and some people changing. Robert Wilson, Andrew de Groat, Cynthia Lubar, James Neu, Ann Wilson, Mel Andringa, S.K. Dunn and others (Dir.); Robert Wilson, Andrew de Groat, Jessie Dunn Gilbert, Kikuo Saito, Cynthia Lubar, Susan Sheehy and Ann Wilson (Texts); Igor Demjen (Music/Sound). Performed by Robert Wilson and the Byrd Hoffman School of Byrds. Haft Tan Mountain (Shiraz-Persepolis Festival of the Arts), Shiraz, Iran, September 2-9, 1972 [one continuous performance].
1971
[Demonstration/Lecture/Press Conference]. Performed by Robert Wilson. Atelje 212 (BITEF Festival), Belgrade, Yugoslavia, September 14, 1971.
Program Prologue Now: Overture for a Deafman by Robert Wilson. Espace Pierre Cardin, Théâtre des Ambassadeurs, Paris, France, June 8, 1971.
Watermill [performance/demonstration]. Melvin Andringa, Igor Demjen, Alan Lloyd, and Pierre Ruiz (Music/Sound). Performed by Robert Wilson, Andrew de Groat, Cynthia Lubar, and others. Morristown Unitarian Fellowship, NJ, March 16, 1971.
1970
Deafman Glance by Robert Wilson. Alan Lloyd, Igor Demjen et.al. (Music). Performed by Robert Wilson, Raymond Andrews, Sheryl Sutton, and the Byrd Hoffman School of Byrds. University Theater (Center for New Performing Arts), Iowa City, IA, December 15, 1970.
Handbill by Robert Wilson. Kenneth King (Text); Alan Lloyd and Julie Weber (Music). Performed by Robert Wilson and others. New Museum (University Center for New Performing Arts), Iowa City, IA, November 13, 1970.
George School Activity [lecture/demonstration]. Conducted/performed by Robert Wilson. George School, New Hope, PA, Spring 1970.
1969
The Life and Times of Sigmund Freud by Robert Wilson. Fred Kolouch (Set). Performed by Robert Wilson and the Byrd Hoffman School of Byrds. Brooklyn Academy of Music, Opera House, New York City, NY, December 18, 1969.
Hauco – 1941 [performance/lecture/demonstration]. Performed by Robert Wilson and the Byrd Hoffman School of Byrds. New Providence High School, NJ, March 29, 1969.
The King of Spain by Byrd Hoffman [i.e. Robert Wilson]. Performed by Robert Wilson and the Byrd Hoffman School of Byrds. Anderson Theatre, New York City, NY, January 30, 1969.
1968
Alley Cats [duet performed in Meredith Monk’s Co-op]. Performed by Robert Wilson and Meredith Monk. Loeb Student Center, New York University, New York City, NY, November 3, 1968.
ByrdwoMAN. Performed by Robert Wilson, S.K. Dunn, Kikuo Saito, Raymond Andrews, Hope Kondrat, Robyn Brentano, Meredith Monk, and others. 147 Spring Street (Wilson’s loft), and Jones Alley, New York City, NY, October 26, 1968.
Theatre Activity [1]. Performed by Robert Wilson, Andrew de Groat, Kenneth King, and others. Bleecker Street Cinema, New York City, NY, March 7, 1968.
Theater Activity [2]. Including texts written and recorded by Buckminster Fuller. Performed by Robert Wilson, Devora Bornir, Kenneth King, and Hope Kondrat. American Theatre Laboratory, New York City, NY, April 19, 1968.
Poles [outdoor sculpture, in conjunction with performances by Robert Wilson and others]. Grail Retreat, Loveland, Ohio, 1968.
1967
Baby Blood [An Evening with Baby Byrd Johnson and Baby Blood]. Performed by Robert Wilson. 147 Spring Street (Wilson’s loft), New York City, NY, November 1967.
1966
Clorox and Opus 2 [dances]. Pratt Institute (Spring Recital of Dance Workshop), New York City, NY, April 29, 1966.
1965
[Silent Play]. Performed by Robert Wilson and others. San Antonio, Texas, Summer 1965.
Modern Dance (four dances) by Robert Wilson. Performed by the “Ideas in Motion” youth theater program. Waco Civic Auditorium, Waco, Texas, July 29, 1965.
America Hurrah by Jean-Claude van Itallie. Michael Kahn (Dir.); Robert Wilson (Set). Cafe La Mama E.T.C., New York City, NY, April 28, 1965.
Duricglte & Tomorrow by Robert Wilson. Praetorius (Music). Memorial Hall, Pratt Institute (Spring Dance Recital), New York City, NY, April 9, 1965.
1964
Landscapes by Murray Louis. Decor by Robert Wilson. Henry Street Settlement House (Murray Louis and Co.), New York City, NY, November 20, 1964.
Junk Dances by Murray Louis. Decor by Robert Wilson. Henry Street Settlement House (Murray Louis and Co.), New York City, NY, November 27, 1964.
[Dance Event at New York World’s Fair]. New York State Pavillion, New York City, NY, ca. September 1964-June 1965.
[Dance Pieces at Peerless Movie House]. New York City, NY, ca. 1964 (dates unknown).
Kimberly Drew (a.k.a. @museummammy) is a writer, curator, and activist with a passion for innovation in art, fashion, and cultural studies. Drew received her B.A. from Smith College in Art History and African-American Studies, with a concentration in Museum Studies. An avid proponent of black spaces, Drew first experienced the art world as an intern in the Director’s Office of The Studio Museum in Harlem. Her time at the Studio Museum inspired her to start the Tumblr blog Black Contemporary Art, sparking her interest in social media.
Since starting her blog, Drew has worked for Hyperallergic, The Studio Museum in Harlem, and Lehmann Maupin. She has delivered lectures and participated in panel discussions at the New Museum, Art Basel, Moogfest, The Schomburg Center for Research in Black Culture, and the Brooklyn Museum. Her writing has appeared in Glamour, W, Teen Vogue, and Lenny Letter. She also serves as a board member for Recess Activities, Inc.
Drew is currently the Social Media Manager at The Met, was honored by AIR Gallery as the recipient of their inaugural Feminist Curator Award, was selected as one of the YBCA100 by the Yerba Buena Center for the Arts, and selected as one of Brooklyn Magazine’s Brooklyn 100. You can follow her at @museummammy on Instagram and Twitter.
Kimberly Drew is an American art curator and writer. She is best known as the former social media manager for the Metropolitan Museum of Art and her use of the social media handle MuseumMammy. Drew released her first book, This Is What I Know About Art in June 2020. Wikipedia
The Neo-Domesticity Performance Art Festival is a 100 hour happening showcasing 35 immersive performances at the hybrid-domestic sphere of Glasshouse in Brooklyn. The festival features original works by mid-career and emerging performance artists across disciplines, including theater, dance, literature, and visual art, spread throughout the gallery space of Glasshouse in Brooklyn, which celebrates in 2017 its 10th season.
Taking place in a domestic environment, the festival aims at the intimate/intimidating experience of home. Works take varied time/space forms: some performances are durational and stretch in time and space or share a room with other performances; others are limited in time or confined to a small cell; while others are allowed to wander around the house, or create micro-environments of their own (by curating their own performance works). The program strives to create a dynamic landscape that fulfills contradicting features of the domestic sphere: nomadic and static, exhibitionist and intimate, public and private, host and guest, etc.
The term NEO DOMESTICITY was coined by artist Lital Dotan in 2013 alongside a manifesto that described Glasshouse and several other art spaces in Brooklyn. It refers to a form of performance that is rooted in the daily life of the artist and becomes a hub for the performance community, bypassing the mediation of established art institutions. NEO DOMESTICITY art centers re-define the domestic settings and allow the artists to engage directly with their audiences and explore mechanisms of sustainable practices – rather than “out of the ordinary” singular acts. These performance acts undermine the private/public dichotomy and question gendered artistic hierarchies as well as economic and political interests that keep performance works away from museums and galleries.
Dotan’s survey ‘A Performance Ecology In NY’ was published by TAR Magazine in 2015.
Glasshouse is the art-life-lab of artist Lital Dotan & photographer Eyal Perry, hosting artistic practices that are based on immersive performance & participatory art in the domestic sphere. Founded in 2007 and operating in Brooklyn since 2012 Glasshouse hosts performances, exhibitions, residency program and festivals, all dedicated to promote deeper understanding of performative practices and discourse.
Performance Schedule
Wednesday, June 21
Beginning 6pm–‘Unsee’ by H.A.M + Ntilit (3h) | ‘Ulysses’ by Simla Civelek (15h+)| ‘Cake Table’ by Miguel Olivares (edible installation)
Beginning 9pm– ‘Chasm‘ by Rebecca Patek (9h) | ‘OLVIDO: of things past and the future present’ by Hector Canonge (3h) | ‘UNTITLED (the purification bath)’ by Michael Freeman (3h)
Thursday, June 22
Beginning 9am– ‘Hangers 101’ by Marie Christine Katz (12h)
Beginning 12pm– ‘At Her Feet’ by Rae Goodwin (6h) | ‘Dr. Mira’ by Mira Treatman (3h)
Beginning 6pm– ‘The Linden Cycle’ by Ethan Primason, Roxy Gordon, Nick Nazmi & Dexter Dine (3h) | ‘Black+Decker’ by Leah Aron (6h) | ‘Comfort Able’ by Barbara Ann Michaels (3h)
Beginning 9pm– ‘725’ by Miao Jiaxin (3h) | ‘Cavern’ by Camila Caneque (3h) | ‘Tyranny’ by Jill McDermid (3h)
Friday, June 23, 2017
Beginning 12am– ‘Constant Vigilance/Our Social Eye(s)’ by Panoply Performance Laboratory- Kaia Gilje, Anaïs Maviel, Lorene Bouboushian, Brian McCorkle, and Esther Neff (12h)
Beginning 12pm– ‘Hot Consumer Trash’ by Andrew Braddock, Alex Chellet, Raquel Mavecq, Antonio Ramos, Isa Frost and Alex Romania (3h)
Beginning 3pm– Experimental music show organized by Lathan Hardy (3h) | ‘The Push and Pull of Proximity’ by Django Voris (3h)
Beginning 6pm– ‘The Substance of Heaven’ by Veronica Pena (6h) |‘Self, Exhibition’ by Scears Lee (24h)
Saturday, June 24, 2017
Beginning 12pm– ‘Foreclosure’ by Joseph Ravens (3h)
Beginning 6pm– Homage to Carolee Schneemann: Mia Schachter (3h)| Arantxa Araujo (3h) | Siw Laurent (3h) | Suzan D. Polat (3h)
Beginning 9pm– Silent House Party with Dj Django Voris (3h)
Sunday, June 25, 2017
Beginning 12am– Performance To A Sleeping Audience by Lital Dotan (6h)
Beginning 6am– ‘Morgenstund hat Gold Im Mund’ A Dawn Performance by Sindy Butz (3h)
Beginning 9am– Movement performance workshop by Stacy Lynn Smithabout:blankREPORT THIS AD
Beginning 12pm– ‘Dr. Mira’ by Mira Treatman | ‘Day In the Life of A Cyborg Monkey’ by Alizarin & Kai | Felix Morello
Beginning 3pm– ‘Post Wor(l)ds’ Literary performance organized by Hanan Elstein
Beginning 6pm– ‘Baking Bobby’ by Anya Liftig (3h)| ‘Widow’ by Jil Guyon (3h)| ‘Undone’ by Katya Grokhovsky (3h)
Closing act– Cleaning The House
THE NEO DOMESTICITY MANIFESTO:
Applied utopia; Cleaning the house is an artistic practice; art and life sustainability = durationality.
Sustaining our life = sustaining our art; Art should be experienced at place that allows staying.
This is a (flux) community generation; Not your bourgeoisie dream; Our home is not a fortress.
We value our independence; No prizes for life= no prizes for art.
Neo Domesticity is a laboratory; We collect empiric truths; No mediators.
Neo Domesticities is (in) movement; Temporary-Autonomous-Zone; A repeated duet of private and public; Time based dynamic interiors.
We avoid encounters with real/estate authorities; Genuine Hospital/ity; Hosting is an artistic practice.
Have some soup
-The above is a manifesto created for the first ‘Neo Domesticity Roundtable’ hosted in 2013 at Glasshouse-
Glasshouse is the art-life-lab of artists Lital Dotan & Eyal Perry, hosting artistic practices that are based on performance, participation and time based art in the domestic sphere; dedicated to promote deeper understanding of performative practices and discourse. Glasshouse is liquid. Have some soup.
BRENDAN MURPHYTO REVEAL NEW ART CREATIONS AT CONTESSA GALLERY EXHIBITION, FOR ART MIAMI, 2020!
Huggy Bear’ – Brendan Murphy American painter, sculptor and creator Brendan Murphy will reveal his newest works for Contessa Gallery [In partnership with Artsy] exhibition during this year’s virtual edition of Art Miami, from December 2nd – 20th.Art lovers can join into the virtual exhibition via the online viewing rooms.
Best known for his Spaceman sculptures, Brendan Murphy’s annual tradition is to reveal his fresh art creations during Art Miami; the leading global platform connecting collectors, galleries and artists. Although this year is a virtual experience, expect to be impressed with what’s to be revealed. ‘Mamba‘ is a 42″ tall sculpture of the late and loved Kobe Bryant, ‘Huggy Bear‘ is a carbon fibreglass bear with 8 layered chrome painting, sitting on a custom made bench, ‘I Want‘ is a hand crafted steel with 8 layer silver based painting, flock interior and custom light fixtures. You could say that these pieces represent the journey of 2020. The great loss of Kobe Bryant united the world, and opened people’s hearts, ‘Huggy Bear‘ could represent pandemic isolation, inner work, and personal growth, and ‘I Want‘ can remind us to be grateful for everything we already have…25 new creations will be on display in the exhibition.
“The end of each year is kind of the beginning of the art “season.” This year will be a lot different but nonetheless I have been working on some new concepts and always enjoy unveiling them at Contessa Gallery during Art Miami week!” – Brendan Murphy
Charged with colour, emotion and the excitement of limitless boundaries, Brendan’s work invites art-collectors on a journey into his brain and their own minds. His focus is simple—to create art that transports people into the moment. This philosophy, and Brendan’s creations, centre around the fact that this ‘moment’ can differ for each and every individual. As a master creative brain and, simultaneously, an everyday father and husband, his innate, personal simplicity is what makes him one of the most innovative artists of our time, but also what makes his works some of the most complex of the decade. The capacity to which Brendan is able to produce artistic works is a distinguishing factor in his illustrious career. His commitment to craftsmanship, fine materials and precise technique are world-renowned, with his works found across the globe through his gallery network that includes Miami, Palm Beach, Santa Monica, Cleveland, Monaco, Montreal, and Toronto “As a Gallerist – we are known in the art-world for having an uncanny ability to spot artists on their ascension to their mature style and the rising tide of their career. It has been with great pleasure and a profound sense of pride to have helped Brendan in this pursuit and have our collectors participating in that journey. This year’s body of work exemplifies his continued growth in technique, materials, innovation and prodding us to think about the world and the times we are living in.” – Steve Hartman, Owner and Curator of Contessa Gallery Join Brendan Murphy’s virtual exhibition on Contessa Gallery Here.
BRENDAN MURPHY IS AVAILABLE FOR INTERVIEWS ‘I Want’ – Brendan Murphy ‘Mamba’ – Brendan Murphy
ABOUT CONTESSA GALLERY:Founded in 1999, Contessa Gallery is a Fine Art Dealers Association Member (FADA) that offers artworks of exceedingly high quality as well as art acquisition counsel to collectors, museums and institutions. Contessa Gallery is driven by three main principles: passion, integrity and education. Coupled with a strong commitment to service and connoisseurship, Contessa Gallery has developed a notable local, national, and international following and a reputation for integrity and excellence.While many galleries focus primarily upon artist representation and promotion, Contessa Gallery is collector-oriented. Our mission is to assist clients in developing collections that have deep personal meaning. Contessa Gallery encourages its clients to view their collections as a legacy to be passed down through generations of family or to museums.The gallery continues to expand its clientele and reputation through its participation in art fairs such as The Armory Show – Modern, and Art Miami. At the philanthropic level, Contessa Gallery seeks to make a difference in the community through the contribution of time, expertise, sponsorship and educational programming for museums and arts organizations. https://www.contessagallery.com
Brendan Murphy (B 1971 – ) is a widely known contemporary artist whose works are found in prominent private collections and galleries around the world. Since his early career, Brendan has blended abstract and figurative forms to reveal meaning with deeper contemplations through his sculpture and painting. Brendan believes it is in art’s potential where we can most universally transmit positive energy. He recognizes the effect this energy, when experienced as a collective, can have on society as a whole. His commitment to process and true craftsmanship is the unifying thread throughout his body of work.
Brendan currently works from his home-based studios in Malibu, CA and Miami, FL. His work is represented in over 600 private collections and his new works are commonly featured at Art Fairs around the world through his gallery representation in the USA, Canada, Germany, Colombia, England and Monaco.
The sculptural work of Brendan Murphy communicates a rare perspective on the modern human experience through explorations of form, color, language, and universal symbols. Thematically, Brendan Murphy explores the interplay of beauty, power and the need to understand the source of all the energies of life.
The inspirations of the work; formulas, equations, relationships; create a pictorial spectrum of human emotion and the unifying natures of shared humanity. Through the layering of these emblems, Brendan Murphy’s painted works boldly portray careful imagery and density of the human experience, exposing the deep natural beauty that surface in this fragile balance.
Brendan Solo Shows and Art Fairs:
2020
Art Miami Virtual – Contessa Gallery
“96% Stardust” – Solo Show – Haviland Reed
“Timing is Everything” – Solo Show – Nicole Henry Fine Art
Palm Beach Modern + Contemporary – Contessa Gallery
2019
Art Miami – Contessa Gallery
“Internal Reflection” – Solo Show – Contessa Gallery, Cleveland
“RBTH” – Solo Show – Maddox Gallery, London
Art Central Hong Kong – Maddox Gallery
Art Palm Beach – Contessa Gallery
Art Wynwood – Contessa Gallery
2018
Art Palm Beach – Contessa Gallery
Art Wynwood – Contessa Gallery
Solo Show– Contessa Fine Art Gallery, Palm Beach
Art New York – Contessa Gallery
Art Market Hamptons – Contessa Gallery
Art Miami – Contessa Gallery
2017
“The next step” – Monika Olko Gallery, Sag Harbor
“From here to the moon” – Art:ig , Munich
Palm Beach Art Fair – Nicole Henry Fine Art
2016 “Bloom” – Monika Olko Gallery , Sag Harbour, NY “Lets take a walk” – Family House, San Francisco “Stay” – Galleria Ca’ D’ Oro’, New York City “ Nole XL” – Unveil at the Rio Museum of Modern
2015 “Punks and Poets” – Event Farm, Santa Monica, CA “Situations” – KM Fine Arts, Los Angeles CA
2014 Open House at Eagles Watch studios
2013 Art in Motion, 483 Gallery, Brooklyn, NY Art in Motion, Ireland Galleries, Toronto, Canada Love and all her friends, 483 Gallery, Brooklyn, NY
2012 “Lovers and thieves”, Costas Gallery , Art Basel, Miami, FL “Salute to Joe Strummer”, Atelier Building, Manhattan NY “The beat my heart skipped”, Village Hotel, Yountville , CA
2011 “Standing still under the Waterfall”, Solfire Roving Gallery, Miami , FL “Chasing Butterflies”, Solfire Roving Gallery, New York, NY
2010 Open house at Raven’s Eye Studios, Malibu, CA
2009 “To the end of the earth and back again” – Solfire Roving Gallery, Calgary, CA “To the end of the earth and back again” – Solfire Roving Gallery, Southampton, NY “To the end of the earth and back again” – Solfire Roving Gallery, STK , NY, NY “To the end of the earth and back again” – Solfire Roving Gallery, ICON , Miami FL
2008 “The Magic Garden” – Palm Galleries, Boca Raton
2007 “What its like beyond the moon”, Valmorbida Gallery , NY, NY
2006 “Beyond Infatuation” – K.H . Gallery , New York, , NY Open House studio, Culver City, Los Angeles, Ca Solo Show, Neue Gallery, Berlin Germany
Brendan Murphy Group Shows:
2016 Southampton Art Fair, Southampton, New York
2015 Art Miami, KM Fine Arts
2014 Art Miami, KM Fine Arts Silicon Valley Art Expo, KM Fine arts, San Jose, CA
2013 Silicon Valley Art expo, 483 Gallery, San Jose, CA
2007 Scope, Art Basel, Gallery 10g, Miami, FL Scope, Southampton, Gallery 10g, Southampton, Ny
La baronesa Elsa von Freytag-Loringhoven nunca pretendió ser artista, en palabras de Jane Heap: “ella es la única de todo el mundo que viste Dadá, ama Dadá y vive Dadá”. Murió en 1927 en la más absoluta miseria, aunque de su ingenio vivió todo el arte conceptual neoyorkino y su exaltación de lo estrafalario en el mundillo de los Andy Warhol. Jean Duchamp en su emigración a USA aprovechó al máximo las dotes artísticas de Elsa incluso hasta apropiarse de la autoría de la obra de referencia, el urinario fuente. Elsa recolectaba basura y de ella elegía trozos de madera que etiquetaba como Catedral, cañerías fálico-flácidas que denominaba God, etc… y un urinario que denominó Fuente, bajo el pseudónimo de R. Mutt.
Elsa von Freytag-Loringhoven
Como en tantos otros ejemplos del mundo del arte, en ocasiones fluye la antiética. En 1982, en el Archives of American Art Journal, se publicó una carta de Jean Duchamp dirigida a su hermana Suzanne. La carta está fechada el 11 de abril de 1917, en ella escribió que “una amiga con el pseudónimo masculino de Richard Mutt envió, como escultura, un urinario de porcelana para la exposición de los Independientes. Yo tuve que poner mi cargo a disposición y los beatos rumores van a correr en Nueva York”.
Según parece a la muerte del fotógrafo, Duchamp se apropió de la autoría, ya famoso, dado que se habían escrito teorías académicas y curatoriales. Duchamp ya participaba del mito fundador del arte conceptual y se trataba de una importante contribución americana al modernismo, que no podía doblegarse hacia una pordiosera. A raíz de 1982 hay autores, como Glym, que sugieren que Duchamp no solo se apropió de la creatividad de Elsa, sino que también se apropió de su discurso, como se percibe en sus entrevistas.
“La fuente de las Fuentes”, 1917, firmada Richard Mutt, pseudónimo de la baronesa Elsa. Este es la obra original fotografiada por Alfred Stieglitz, quién falleció en 1950.
Fountain – Marcel Duchamp or Elsa von Freytag-Loringhoven?
Instalación artística. El arte de instalación es un tipo de arte contemporáneo en el cual el artista utiliza, como parte de la composición, el propio medio (como paredes, piso, luces e instalaciones) además de objetos diversos. En muchas ocasiones, los materiales escogidos, llenan más o menos el espacio y el espectador es invitado a moverse alrededor de la obra o interactuar con la pieza, en esos casos el espectador mismo deviene parte de esa obra en ese preciso momento y ese preciso tiempo. A veces las instalaciones son frágiles por lo que solo pueden ser vistas desde la puerta o un extremo del espacio.
Existen varios precedentes para este tipo de arte, pero no fue hasta los años 80 que los artistas comenzaron a especializarse en las instalaciones. Materiales de todo tipo, luces y sonido han seguido siendo elementos fundamentales para la instalación artística.
En los inicios, las instalaciones eran usualmente creaciones temporales; eran parte del moderno movimiento que trataba de desechar la idea del arte como objeto coleccionable. Esta tendencia es también vista en el Arte povera y en el Arte conceptual. De cualquier forma, en la actualidad, muchas instalaciones artísticas son realizadas para muestras permanentes y muchas de ellas han sido compradas y vendidas como las obras de arte tradicionales. Uno de los ejemplos más conocidos es la obra “20:50” de Richard Wilson, que consistía en una habitación llena de aceite de cárter y que fue creada en 1987 para la Matt’s Gallery de Londres pero que fue subsecuentemente exhibida en la Royal Scottish Academy de Edimburgo y luego comprada por la colección Saatchi de Londres.
Características de Arte instalación
Como género dentro de las artes plásticas, la instalación se supedita a los sitios de arte o emplazamientos para los que ha sido o fue concebida. Algunas instalaciones son sitios específicos de arte y sólo puede existir en el espacio para el que fue creada.
El uso de materiales diversos, la asimilación de diferentes escalas, la libertad de concepto y de la potenciación de la interactividad entre el producto artístico y el público son algunas de las características más importantes de esta peculiar manera de concebir obras de arte. Otro aspecto dentro de la concepción de instalaciones artísticas es el emplazamiento, en este sentido se hace válido recordar que existen artistas que en su búsqueda de una mayor interacción social, manifiestan su gusto por los espacios exteriores o urbanos, mientras que otros continúan creando dentro de los restringidos límites de las galerías de arte, museos y recintos de exposición.
En la praxis del arte instalativo, más que la apreciación de la escultura tradicional, cuyo fundamento se establece sobre la base del trabajo artístico, en la instalación la intención del artista es primordial debido a su conexión con el Arte conceptual y con las actitudes comunicativas en su obra.
En el arte de la instalación los artistas pueden hacer uso de cualquier medio o material, pueden usar desde materiales naturales y tradicionales hasta los más novedosos medios de comunicación, incluso existen artistas que han llegado a utilizar la energía pura como el plasma o el fuego. Otro elemento importante a acotar dentro del género instalativo es que existen instalaciones en las que el artista incorpora sonidos, olores, sensaciones térmicas, etc., contribuyendo así a propiciar lecturas más profundas y ricas en los expectadores. Uno de los creadores de la instalación artística que utiliza luces es James Turrell.
Orígenes de la instalación artística
Muchos encuentran el origen de este género en artistas como Marcel Duchamp y el uso de objetos cotidianos resignificados en espacios de galerías y museos como obras artísticas. Sin embargo, se puede decir que el más cercano precedente está dado en los Environments (ambientes). Unos de los creadores de los “Environments” fue el artista norteamericano Allan Kaprow con obras realizadas a partir de 1957. En una entrevista sin fechar publicada en 1965 Kaprow decía acerca de su primer Environment: “Yo simplemente rellené toda la galería. Cuando abres la puerta te encuentras en medio de un ambiente integral. Los materiales eran diversos: sábanas de plástico, envoltorios de celofán, trozos de cinta adhesiva, pedazos de esmalte rajados y manchados y piezas de ropa coloreadas”. También había luces colocadas en medio de todo esto y “cinco maquinas de escribir desplegadas alrededor del espacio tocando sonidos electrónicos que yo había compuesto”. Desde ese momento la creación de instalaciones devino una importante corriente del arte moderno, principalmente a partir de la década de 1990.
Otro antecedente interesante puede ser la exposición de 1958 en Paris del artista francés Yves Klein que consistía en una habitación vacía y aunque el término no surgió hasta la década de 1970, este gesto es a veces visto como la primera instalación, en el sentido en que se entiende el término en la actualidad.
En 1961, en Nueva York, Claes Oldenburg creó un ambiente, Counter and Plates with Potato and Ham que, en estos momentos se considera instalación.
The Devil does not exist, It is just a tool used by churches.
In situ: Urban action by Rafael Montilla
I am sure the devil does not exist, It is just a tool used by churches. What exists are demon beings like fidel castro, hitler, hugo chavez, nicolas maduro among others. If we really believe in God, we must know that we don’t need a PR (Priests or Pastors) to get to God. This video is not to make any money, it is for art.
Song: The Rolling Stones – Sympathy For The Devil Circus
‘I Want’ – Brendan Murphy 
‘Mamba’ – Brendan Murphy 
