Participant Inc and the Portland Institute for Contemporary Art presents DOOMSCROLLING—MICHELLE HANDELMAN X SHANNON FUNCHESS , a video premiere including excerpts from Hustlers & Empires; Irma Vep, the Last Breath, and Dorian, a Cinematic Perfume.  The readings and performances will feature

A celebration of self-dramatization as theory, practice, and salvation, MIGUEL’S WAR is the story of Miguel Jelelaty Obeid—conference interpreter, singer, musician, provocateur. Growing up queer in Lebanon, he was a young militia member in the 1980s during the country's civil

In the name of finding himself, X (Will Krisanda) is disappearing. An unsuccessful actor who typically auditions for bit parts in indie productions as "sad trans" or "trangender best friend," he chose his moniker not as a conversation starter, but

The annual New Original Works Festival is back—on stage and in person—at REDCAT. Week One features presentations of Marissa Brown’s new movement work The ocean is six miles deep, Melissa Cisneros’ duet Togetherness—developed with dancer Eric Geiger and designer Harry Foster—and

The question of the use of violence by the state is a major source of debate in today’s France. From the working class districts to the city centers where demonstrations take place, images and accounts of police violence are flooding

Holding on to their snobbery if not their pride, the bourgeois mother and daughter at the center of Ulman’s tragicomic farce EL PLANETA have been on an irrevocable economic slide since the recent death of the family patriarch, forcing Leonor

It isn't hard to love a town for its greater and its lesser towers, its pleasant parks or its flashing ballet. Or for its broad and bending boulevards, where the continuous headlights follow, one dark driver after the next, one

On the occasion of her Guggenheim exhibition CENTROPY—now in its final weeks in New York— Deana Lawson conceived an eponymously titled short film, now available to stream. Touching on the “personal histories and thematic structures that inflect the installation in the

There is really a point where I don’t know what was real and what isn’t. So it’s a real confusion of fact and fiction, and I enjoy that dance, but there are essential things that are true. I was talking

For George Balanchine, the American ballet world was a blank slate. Arriving in New York in 1933 at the behest of patron Lincoln Kirstein—co-founder, with Balanchine, of the School of American Ballet (1934) and the New York City Ballet (1948)—the choreographer