Her landmark performance work—solo and group—her films and kinetic assemblages, her paintings and multimedia installations. In a series of gallery exhibitions and public programs, screenings, and events, CAROLEE SCHNEEMANN—BODY POLITIC brings it all together at the Barbican, her first major
Early on in the explosive new sight and sound spectacle MOONAGE DAYDREAM—a kaleidoscopic, experiential take on David Bowie’s art and philosophy by documentarian Brett Morgen—footage of the transcendent performance of “Wild-Eyed Boy from Freecloud” and its segue into “All the
The third part of Driscoll’s “Thank You for Coming” series—following “Attendance” and “Play”—THANK YOU FOR COMING: SPACE is the artist’s “solo” collaboration with the audience and an interactive set, presented this week at REDCAT in Los Angeles for three performances.
Taciturn, gloriously reptilian, and profoundly alone, María (Teresa Sánchez) runs her rural Jalisco tequila factory with a stern butchness that cannot forestall a series of events that threaten everything she's worked for. A plague is wiping out her agave crop,
For the long-awaited opening of the exhibition JOAN JONAS at Haus der Kunst—originally scheduled for 2018—the artist will present performances of Mirror Piece I & II (1969/2018). And in November, the museum will host the European premiere of Jonas’ new Out
François Ozon’s PETER VON KANT—a genuflection and almost-camp homage—is a loose adaptation of Rainer Werner Fassbinder’s The Bitter Tears of Petra von Kant. Gender-switched to accommodate a more realistic portrayal of the German director’s obsession with actor Günther Kaufmann, PETER