Shanghai Dance Theatre makes its NYC debut with Soaring Wings at Lincoln Center
David H. Koch Theater at Lincoln Center
20 Lincoln Center Plaza
January 5-7, $22-$167
212-496-0600 davidhkochtheater.com
Shanghai Dance Theatre makes its New York debut January 5-7 at the David H. Koch Theater at Lincoln Center with Soaring Wings, an evening-length celebration of harmony about the “bird of good fortune,” the Japanese crested ibis. Set to traditional Chinese music, the environmentally conscious work celebrates the interdependence between nature and humanity, building the theme around the rediscovery of ibises in Shaanxi Province in 1981, thought to be in extinct in China and Japan as the result of twentieth-century modernization. Presented by China Arts and Entertainment Group as part of its Image China program, which began in 2009 “as a bridge of cultural exchanges between China and other countries,” Soaring Wings features more than two dozen dancers, including principals Zhu Jiejing and Wang Jiajun. Zhong Jiani’s lush, elegant costumes bring the endangered species to beautiful life; the show is written by Luo Huaizhen, with music by Guo Sida, direction and choreography by Tong Ruirui, lighting by Xing Xin, makeup by Xu Bin, and props by Li Hongchao. The award-winning Shanghai Dance Theatre, which was founded in 1979 and melds Chinese classical dance with ballet and folk traditions, has been traveling the world with Soaring Wings and such other productions as Fragrance, so its New York debut is greatly anticipated.
The Hendrix Project kicks out the jams at the BRIC House as part of the Public Theater’s Under the Radar festival (photo by Nicolas Savignano)
Once upon a time, January was considered a relative artistic wasteland, as people suffered from a post-holidays letdown with a dearth of high-quality movies and Broadway shows opening up. But this century continues to fill that void with more and more cutting-edge, experimental, and offbeat music, dance, and theater with a growing list of performance festivals around the city. You can catch cabaret at Pangea, opera at Prototype, dance at American Realness, the 92nd St. Y, and New York Live Arts, jazz at JazzFest, Irish theater at Origin’s 1st, and a little of everything at Under the Radar and COIL, the latter back where it belongs at the renovated PS122. Below are only some of the highlights of this exciting time to try something that might be outside your comfort zone and take a chance on something new and different to kick off your 2018, especially with the majority of tickets going for about twenty-five bucks.
UNDER THE RADAR
Public Theater and other venues
425 Lafayette St. by Astor Pl.
January 4-15 www.publictheater.org
After by Andrew Schneider, performed by Alicia ayo Ohs and Andrew Schneider, with Kedian Keohan and Peter Musante, January 4, 6, 7, 8, 11, 13, 14, Public Theater, Martinson Hall, $25
Parallel Lives: Billie Holiday & Edith Piaf, created and directed by Nona Hendryx, performed by Joey Arias, Tamar Kali, Liza Jesse Peterson, and Etienne Stadwjck, January 5-6, Joe’s Pub, $45
The Gates: An Evening of Stories with Adam Gopnik, January 5, 10, 12, 13, 14, Public Theater, Newman Theater, $25
The Hendrix Project, by Roger Guenveur Smith & CalArts Center for New Performance, performed by Samantha Barrow, Morgan Camper, Hannah Cruz, Jasmine Gatewood, Heaven Gonzalez, Ariyan Kassam, Liam O’Donnell, Dante Rossi, Henita Telo, Max Udell, Ieva Vizgirdaite, and Christopher Wentworth, January 11-14, BRIC House, $25
Pursuit of Happiness, Nature Theater of Oklahoma & EnKnapGroup, NYU Skirball, January 12-14, $25
Gregory Spears and Greg Pierce’s Fellow Travelers goes back to the Lavender Scare of the 1950s (photo by Philip Groshong)
Acquanetta, by composer Michael Gordon, librettist Deborah Artman, director Daniel Fish, and conductor Daniela Candillari, with Mikaela Bennett, Amelia Watkins, Eliza Bagg, Timur, and Matt Boehler, Gelsey Kirkland Arts Center, January 9-13, $30-$75
Out of Bounds — Breaking Ice: The Battle of the Carmens, by Alicia Hall Moran, new vocal work for an ice-skating audience, January 11, Bank of America Winter Village at Bryant Park, free, 1:40; January 14, location TBD, free, 2:30
Fellow Travelers, by composer Gregory Spears, librettist Greg Pierce, director Kevin Newbury, and conductor George Manahan, with Aaron Blake, Joseph Lattanzi, Devon Guthrie, Vernon Hartman, Marcus DeLoach, Christian Pursell, Paul Scholten, Alexandra Schoeny, and Violetta Lopez, January 12-14, Gerald W. Lynch Theater at John Jay College of Criminal Justice, $30-$55
Out of Bounds: The Future Is Open, by Tori Wrånes, newly commissioned site-specific work, Washington Square Park, Northwest Corner, January 18-19, free, 5:30
Michelle Ellsworth’s The Rehearsal Artist promises an intimate experience at American Realness
AMERICAN REALNESS
Abrons Arts Center and other venues
466 Grand St. at Pitt St.
January 9-16 americanrealness.com
The Rehearsal Artist, by Michelle Ellsworth, January 9-11, the Invisible Dog Art Center, $25, 1:15 – 8:45
Variations on Themes from Lost and Found: Scenes from a Life and Other Works by John Bernd, by Ishmael Houston-Jones and Miguel Gutierrez, with Nick Hallett and Jennifer Monson, Danspace Project, January 9, 11, 12, 13, $22-$25
#PUNK, by nora chipaumire, Abrons Arts Center Playhouse, January 11-13, $25
I <3 PINA, by Neal Medlyn, Abrons Arts Center Experimental Theater, January 11, 12, 13, 14, 16, $25
This, by Adrienne Truscott, Abrons Arts Center Playhouse, January 14-16, $25
ORIGIN’S 1st IRISH FESTIVAL
Multiple venues
January 9-29 www.1stirish.org
Dyin’ for It, by Derek Murphy, with Maria Deasy, Adam Petherbridge, Sarah Street, and Aoife Williamson, the Cell, January 17-28, $30
Guy Walks into a Bar, by Don Creedon, New York Irish Center, January 18, 25, $20-$25, 7:15
ShakesBEER with an Irish Twist, pub crawl, Stone St., January 27, February 3, $49 (includes four drinks), 3:00
Dear Mr. Beckett: Letters from the Publisher, with Billy Carter and Olwen Fouéré, the Irish Consulate, January 29, free with advance RSVP, 1:00
WINTER ALT-FEST
Pangea NYC
178 Second Ave.
January 10-16 www.pangeanyc.com
Salty Brine: How Strange It Is, January 10, 17, 24, 31, February 7, $20, 7:30
Penny Arcade: Longing Lasts Longer, January 11, 14, $20, 7:00
Sven Ratzke: From Amsterdam to Mars, January 14, $20, 9:00
Tammy Faye Starlite: An Evening of Light, Tammy Faye channels Nico, accompanied by Keith Hartel, January 16, $20, 7:00
Gilles Peterson hosts British Jazz Showcase, with the Comet Is Coming, Nubya Garcia, Yazz Ahmed, and Oscar Jerome, Le Poisson Rouge, January 10, $20-$25, 7:00
Winter JazzFest Marathon, more than fifty artists at eleven venues, January 12-13, $50-$60 one day, $85-$95 both days
Ravi Coltrane Presents Universal Consciousness: Melodic Meditations of Alice Coltrane, Le Poisson Rouge, January 14, $35-$45, 7:00
A Tribute to Geri Allen, with Angela Davis, Esperanza Spalding, Craig Taborn, Dee Dee Bridgewater, Farah Jasmine Griffin, Ingrid Jensen, Jack DeJohnette, Jaimeo Brown, Jeff Tain Watts, Kassa Overall, Kris Davis, Linda May Han Oh, Maurice Chestnut, Mino Cinelu, Ravi Coltrane, S. Epatha Merkerson, Tia Fuller, Vijay Iyer, and others, benefit for the Geri Allen Estate, the New School Tishman Auditorium, January 15, $35-$100
Deerhoof Meet Wadada Leo Smith and Nicole Mitchell: Maroon Cloud, Le Poisson Rouge, January 17, $25-$35, 8:00
Body of Work, by Atlanta Eke, PS122, January 10-11, $25
visions of beauty, by Heather Kravas, PS122, January 10-13, $25
Jupiter’s Lifeless Moons, by Dane Terry, PS122, January 12, 13, 14, 16, 17, $25
he his own mythical beast, by David Thomson, PS122, January 31, February 1, 2, 4, $25
Our of Israel returns to the 92nd St. Y for its eighth season
OUT OF ISRAEL: 70 YEARS OF ISRAEL, 70 YEARS OF DANCE / OPEN DOORS: 92Y HARKNESS DANCE CENTER ARTISTS IN RESIDENCE SHOWCASE
92nd St. Y www.92y.org
Out of Israel: works by choreographers Itzik Galili and Roi Assaf performed by Troy Ogilvie, a solo by Roni Chadash, a new composition by DANAKA collective, and films by Joseph Bach and Shamel Pitts, guest curated by Dana Katz, January 12 at 12 noon and January 13 at 8:00, $10 in advance, $20 at the door
Open Doors: works by choreographers Joanna Kotze, Kensaku Shinohara, Pam Tanowitz, and Larissa Velez-Jackson with Jillian Peña, January 12 at 8:00 and January 13 at 4:00, $25-$29
Jack Ferver will present his work-in-progress Everything Is Imaginable as part of Live Artery at New York Live Arts
LIVE ARTERY
New York Live Arts
219 West 19th St.
January 13-15 newyorklivearts.org
Saturday, January 13, $10 each
Abby Zbikowski, abandoned playground (excerpt), 12 noon; Kimberly Bartosik, I hunger for you (work-in-progress), 2:00; RoseAnne Spradlin, “X,” 3:00; Netta Yerushalmy, Paramodernities (work-in-progress), 5:00; Susan Marshall, Construction (collaboration with So Percussion) and Closed System (work-in-progress), 6:00; Walter Dundervill, Skybox (excerpt), 7:00
Sunday, January 14, $10 each
Joanna Kotze, What will we be like when we get there (work-in-progress), 1:00; Kota Yamazaki, Darkness Odyssey Part 2: I or Hallucination (excerpt), 4:00; Bill T. Jones/Arnie Zane Company, The Deep Blue Sea, 5:00; Deborah Hay/Eric Geiger, Jess Humphrey & Leslie Seiters, Pause, 6:00; RoseAnne Spradlin, “X,” 8:00; Jack Ferver, Everything Is Imaginable (work-in-progress), 8:30
Monday, January 15, $10 each
Netta Yerushalmy, Paramodernities (work-in-progress), 11:00 am; Jennifer Nugent & Paul Matteson with Ted Coffey, Visual Proof, 1:00; Jack Ferver, Everything Is Imaginable (work-in-progress); 3:30; Joanna Kotze, What will we be like when we get there (work-in-progress), 5:00; Kimberly Bartosik, I hunger for you (work-in-progress), 6:30
Joseph Cotten is on the run from a jealous husband in Orson Welles’s recently rediscovered and restored Too Much Johnson
TOO MUCH JOHNSON (Orson Welles, 1938)
MoMA Film, Museum of Modern Art
11 West 53rd St. between Fifth & Sixth Aves.
Wednesday, January 3, 1:30
Thursday, February 15, 1:30
212-708-9400 www.moma.org
In August 2013, a 35mm nitrate workprint containing the raw footage of what was to be Orson Welles’s professional debut as a film director was discovered in a warehouse in Pordenone, Italy, home of an annual silent film festival. Consisting of sixty-six unedited, purposefully silent minutes, the film had been shot to accompany the Mercury Theatre’s streamlined staging of William Gillette’s 1894 farce, Too Much Johnson. Unfortunately, when the theatrical production opened in 1938 in a Connecticut theater, the filmed segments couldn’t be shown, spoiling the show’s chances to eventually make it to Broadway — various reports claim that the footage was not finished in time; the Stony Creek Theater lacked the proper projector; Paramount, which owned the rights to the play, demanded a fee; or it just wasn’t safe to screen the film in the theater. But you can see the raw footage at MoMA on January 3 and February 15 at 1:30, the first screening accompanied by a live score by Ben Model, the second by Makia Matsumara. Restored and preserved by George Eastman House,Too Much Johnson is a wacky, breathless tale of lust, passion, and betrayal, as Leon Dathis (Edgar Barrier) catches his wife (Arlene Francis) cheating on him with the dapper Augustus Billings (Joseph Cotten). Dathis sets out after Billings, chasing him through the streets, around a basket shop, and across the rooftops of Lower Manhattan, predominantly in the Meatpacking District — if you look closely, you can see the elevated railroad tracks that became the High Line. Dathis is joined by residents and storekeepers from the neighborhood and a pair of Keystone Kops (John Houseman and Herbert Drake) as they desperately try to catch the cad. The cast also includes Ruth Ford as Billings’s wife, Mary Wickes as Mrs. Battison, and Howard I. Smith as Cuba plantation owner Joseph Johnson.
The hats come off in rediscovered Welles footage meant to accompany Mercury Theatre stage production
In his cinematic debut, Cotten, who would team up with Welles on The Magnificent Ambersons, Citizen Kane, Journey into Fear, and The Third Man, shows quite an aptitude for slapstick comedy, à la Harold Lloyd, fearlessly portraying Billings, doing all the stunts himself, including several very dangerous ones. Meanwhile, Lenore Faddish (Virginia Nicolson, Welles’s wife at the time) and Harry MacIntosh (Guy Kingsley) are preparing to go to Cuba together (Tomkins Cove along the Hudson doubles for Cuba), which does not make her father (Eustace Wyatt) very happy. Welles and cinematographer Harry Dunham use silent-film tropes, from fast-paced action to overemoting to lush close-ups — and yes, the dastardly villain actually twirls his mustache — as well as what would become Welles’s trademark deep focus; the uncut footage features multiple takes, scenes shot from different angles, funny mistakes made by the cast and crew, clearly fake palm trees, a duel without swords, and long takes that would have likely been edited down later. One of the funniest bits involves Dathis and hats, which leads into a suffragette march. The whole thing is a hoot, but just be prepared and know that it’s not a fully realized, fully chronological story with a beginning, middle, and end. Fans of Welles, silent comedies, and Cotten will go crazy for it. And yes, the title means what you think it does. (You can see a home-movie clip of Welles directing the film here.) Too Much Johnson is screening as part of the MoMA series “Modern Matinees: Considering Joseph Cotten,” which runs January 3 to February 28 and also includes the Welles collaborations in addition to Shadow of a Doubt, Gaslight, Duel in the Sun, The Abominable Dr. Phibes, Soylent Green, Hush…Hush, Sweet Charlotte, and other films by the underrated radio, TV, stage, and screen star, who was never nominated for an Oscar, Emmy, Grammy, or Tony.
Flint Rasmussen entertains the crowd at PBR event in Anaheim in 2016 (photo by Matt Breneman / Bull Stock Media)
PROFESSIONAL BULL RIDERS MONSTER ENERGY BUCK OFF AT THE GARDEN
Madison Square Garden
31st – 33rd Sts. between Seventh & Eighth Aves.
January 5-7, $28-$551
After-parties at Hooters on January 5 and American Whiskey on January 6 www.pbr.com www.msg.com
The Professional Bull Riders’ twenty-fifth anniversary tour barrels its way into Madison Square Garden January 5-7 for the twelfth annual PBR Monster Energy Buck Off at the Garden, as thirty-five brave athletes will try to stay atop bucking bulls for the wildest eight seconds in sports. Among those competing to unseat current champion Jess Lockwood is Cooper Davis, the rider we interviewed two years ago who went on to win the 2016 world championship. Last year we introduced you to brothers Tanner and Jesse Byrne, the former a bull rider, the latter a bullfighter who protects the riders from danger. This year we get an inside look at the man who serves as a kind of master of ceremonies for all competitions, PBR “Exclusive Entertainer” Flint Rasumussen.
Since 2006, Rasmussen has been putting on clown makeup and revving up PBR crowds in between bull rides, telling jokes, dancing — specialties include Michael Jackson’s Moonwalk, the Harlem Shake, twerking, and flashdancing — and going into the audience and meeting PBR fans. An eight-time Professional Rodeo Cowboys Association Clown of the Year, eight-time Wrangler National Finals Rodeo Barrelman, a big-time high school athlete, and a former math and history teacher, Rasmussen is an avid hunter and fly fisher and the host of Outside the Barrel on SiriusXM Rural Radio (channel 147). His father, Stan, was a popular rodeo announcer, a profession taken up by Rasmussen’s brother Will, while his other brother, Pete, was a former member of the PRCA and the Northern Rodeo Association. Flint married barrel racer and horse trainer Katie Grasky; their two daughters are involved with rodeo as well. After a day of skiing out west, Rasmussen answered questions about his life and career, giving careful thought to his replies, delivered with a refreshing honesty.
twi-ny: PBR refers to you as its “Exclusive Entertainer,” specifically not using the word “clown.” Is there a trend to stop using such terms as “rodeo clown?”
Flint Rasmussen: We went to “Exclusive Entertainer” for a couple reasons. PBR is not a rodeo; it is just bull riding, so Rodeo Clown is not an accurate title. Also, I don’t really look at myself as a traditional clown. The only thing about me that is Clown is the makeup.
twi-ny: This will be PBR’s twelfth annual competition at Madison Square Garden, the longtime New York City home of Ringling Bros. and Barnum & Bailey Circus, which featured such famous clowns as Emmett Kelly. Even if you don’t see yourself as a traditional clown, do you feel that history when you enter the World’s Most Famous Arena, especially with Ringling Bros. now closed down?
FR: With my background, the history that I feel at MSG is more sports and entertainment oriented. It is the home of the Rangers, the home of Bill Bradley and Patrick Ewing and Spike Lee talking smack to Reggie Miller from the front row. The Big East basketball tournament was there for so long. Every great musician has performed there. Billy Joel? Yes!
I am not really a circus guy. Believe it or not, I have never had much interest, or read much history, on circus clowns. I was always comfortable in front of crowds and wanted to be an entertainer of some sort. My family was involved in rodeo in Montana, and I just performed as a rodeo clown on a dare a couple times. It just happened to take off for me, and it turned into a career. We have held on to the tradition of the rodeo clown makeup as a salute to that rodeo tradition and to distinguish me from the cowboy-protection bullfighters who I work with.
None of this is out of disrespect for the true clowns, but I don’t feel I really adhere to much of that tradition in my performances. We use music. I wear a microphone. Much of my performance is ad lib comedy, almost stand-up at times. And my outfit is almost a sports uniform. It is just more contemporary.
I do think, however, that Ringling Bros. was a real part of our history, and a true show. Every show after it somehow stems from how things were done at the circus to entertain crowds and provide a family show.
PBR Exclusive Entertainer Flint Rasmussen takes to the air at the Des Moines Chute Out (photo by Andy Watson / Bull Stock Media)
twi-ny: Who were your inspirations?
FR: My inspirations were athletes, comedians, and musicians. My favorite basketball player ever is Dr. J. He was a great player and great entertainer all in one. I watched Michael Jackson wow crowds of every age. He was the greatest entertainer of all time! Then there was Billy Joel on his piano, Bon Jovi and their big hair, and Garth Brooks taking country entertainment to a new level. And stand-up comedians — Eddie Murphy, Howie Mandel, Jerry Seinfeld — with their amazing timing and audience interaction.
twi-ny: Since this is a blue state with a lot of cynics when it comes to any form of entertainment, do you approach the New York City crowd any differently from those in other cities?
FR: New York City is different than anywhere we go, and probably the most difficult place. New Yorkers expect the best, because they get the best every day of the year. They like to be involved. I have learned over the years to use a lot of audience participation and interaction instead of just liner comedy. I definitely cannot do the same show in New York City as I do in Billings, Montana, or Sacramento, California, or Sioux Falls, South Dakota. I like to think that is why I am the one with this job.
twi-ny: Has the New York audience changed over time?
FR: When we first came to New York, the fans knew absolutely nothing about what we were doing. We constantly had to educate while trying to entertain. Now they “get it” a little better. Also, the people around the city seem to appreciate when we are in town.
twi-ny: When you’re here in New York City, do you have any time to take advantage of the culture? What are some of your favorite things to do here?
FR: Through the years, my family and I have seen some Broadway shows, which I absolutely love! We caught a Knicks game. And we were able to see museums and other sights. Probably not as much as one should; the job we are here to do is always on my mind. Probably my favorite thing to do is eat way too much of the greatest pizza in the world!
twi-ny: You’ve played football, ran track, and were a champion barrel racer — and you were a high school teacher as well — but this is a whole different thing. People might not realize how dangerous your job can be, as shown by that rope takedown you experienced in Glendale in 2012. What goes through your mind when you’re suddenly face-to-face with a fearsome bucking bull?
FR: The danger thing is hard for any of us to address, because we look at it differently. Most people probably look at my job and say, “I could do that,” because it looks like I am just out there goofing around. But there is a lot going on. If I am not paying attention at any given time, I could get hurt very badly. But as far as the bulls go, I think people in cities don’t understand that most of us grew up in a rural, ranch-type setting. We have grown up either around, or directly involved in, the large-animal industry.
I am looking out my window this very moment doing this interview and can see cattle. I have been in corrals sorting cattle my entire life. This lifestyle exists in a strong way in this country. It is how people eat! Yes, bucking bulls are different. But they aren’t bucking because they are pissed off. They are bucking because their bloodlines tell them that is what they are here to do. Not every horse runs fast. But the ones in the Kentucky Derby are bred to do it, so they do. Bulls are not rare, exotic circus animals. There are millions of people in this country who are around bovines every single day as a way to provide food for this country and to make a living for their families.
So when anyone in the PBR is face-to-face with a bull, they aren’t really thinking; they are reacting in the way that their body and mind have been conditioned to over the years.
Former UFC champion Holly Holm gives Flint Rasmussen a unique autograph at the Pit in Albuquerque (photo by Andy Watson / Bull Stock Media)
twi-ny: How was your Christmas?
FR: Christmas is a great time and my favorite holiday. It was a cold and white Christmas here in Montana. My personal and family situation has not been good in the last year or so, so it was different and difficult. I have had a wonderful career, and I love the opportunities, but it can be very hard on a family.
twi-ny: I’m sorry to hear that. You’ve been in the rodeo and professional bull riding business for thirty years, you suffered a heart attack in 2009, and you will be turning fifty shortly after the MSG dates. Does that change your approach to your job?
FR: My health and age have, of course, changed my approach. I no longer completely depend on the physical comedy and dancing aspects. I can’t do many of the things I used to do. I listen to my body a lot to try and stay ahead of any health issues with my heart. I really do think that for a guy nearly fifty, I am in very good shape and can still shake it pretty dang well.
twi-ny: Yes, you can definitely still shake it pretty dang well; our readers can check out some of your best moments here. When the season ends and you head back to your home in Montana, what’s your favorite thing to do there? Since your daughters are or have been barrel racers too and you own and operate a horse ranch, do you ever get a chance to get away from it all?
FR: Montana is definitely home to me. But as I get older, I really don’t like winter. Montana will always be home, but I wouldn’t mind getting farther south once in a while. I fly home between almost all of our events. In the summer I fish when I can. My daughters go to rodeos in the summer, and I get to as many of those as I can. I have helped coach track the last couple springs up here. My oldest daughter, Shelby, is a freshman at Montana State University on a rodeo team scholarship. (Yes, that does exist.) And my younger daughter, Paige, is a junior at Belgrade High School, where she is a hurdler/jumper/sprinter on the track team. She is also very talented in rodeo. They are both very musical, too. Their mom, Katie, trains amazing horses for them, which allows them to excel and be successful.
I also do a weekly radio show called Outside the Barrel on SiriusXM Rural Radio that emphasizes the Western lifestyle, music, and comedy. I host a stage talk show in Vegas for a couple weeks out of the year, too. I probably need to find a way to get away from it all once in a while. But it isn’t a bad life to not get away from.
Ai Weiwei takes a close look at the international refugee crisis in Human Flow
HUMAN FLOW (Ai Weiwei, 2017) Quad Cinema, 34 West 13th St. between Fifth & Sixth Aves., 212-255-2243, Wednesday, January 3, 4:30 BAMcinématek, BAM Rose Cinemas, 30 Lafayette Ave. between Ashland Pl. & St. Felix St., 718-636-4100, Wednesday, January 3, 7:00 www.humanflow.com
On January 3, Chinese dissident artist Ai Weiwei will travel from Manhattan to Brooklyn, participating in two Q&As following screenings of his stunning new documentary, Human Flow. This past fall, Ai had several concurrent exhibitions in New York City that dealt with the international refugee crisis. At Deitch Projects in SoHo, “Laundromat” included racks of clothing that had been worn by Syrian refugees at the Idomeni refugee camp in Iraq, all freshly cleaned and pressed, as if ready to give the migrant men, women, and children a new lease on life. Among other items, the gallery show also featured several monitors playing footage that Ai had shot in various refugee camps, film that has now been turned into Human Flow. In 2016, Ai and his crew traveled to twenty-three countries, visiting dozens of camps in a year in which it was estimated that there were as many as 65 million displaced people around the world, fleeing war, poverty, famine, and persecution. In his first full-length documentary, Ai moves from macro to micro, shooting at a variety of scales. He uses drones to photograph tent cities in the desert from high above — reminiscent of the photography of Edward Burtynsky, turning individual items into parts of a vast pattern — along with gorgeous scenes of deserts and seascapes and intimate cell-phone footage and handheld camera shots that put viewers right in the middle of these makeshift villages, where some families live for decades. Ai, with his scruffy gray beard and in a hoodie, is often shown not only taking cell-phone videos but helping out and mingling with the refugees as dinghies arrive on the shores of Lesbos, Greece, or playfully trading passports with a refugee. Throughout the film, men and women stand proudly, often in traditional dress, looking directly at the camera for extended lengths of time, establishing their unique individuality, putting faces to what is most often seen in news clips as swaths of people struggling to survive. As Ai travels to each successive camp, he posts relevant quotes from writers and philosophers from that nation, from Turkish poet Nazim Hikmet, the Dhammapada Buddhist scripture, and Persian poet Baba Tahir to Kurdish poet Sherko Bekas, Syrian poet Adonis, and U.S. president John F. Kennedy. Details about the situations are sometimes delivered news-crawl-style, along the bottom of the screen.
Ai Weiwei gets deeply involved in situation in Human Flow
In addition to giving voice to the refugees themselves — “Where am I supposed to start my new life?” one woman asks — Ai speaks with crisis workers on the ground and United Nations officials and other experts, such as UNHCR Communications Officer Boris Cheshirkov, Princess Dana Firas of Jordan, Human Rights Watch Emergencies Director Peter Bouckaert, UN High Commissioner for Refugees Filippo Grandi, UNHCR Pakistan Senior Operation Coordinator Marin Din Kajdomcaj, UNICEF Lebanon representative Tanya Chapuisat, former Syrian astronaut Mohammad Fares, Dr. Cem Terzi of the Association of Bridging Peoples, and Dr. Kemal Kirişci, a senior fellow at the Brookings Institution who gets right to the point, explaining, “It’s going to be a big challenge to recognize that the world is shrinking, and people from different religions, different cultures, are going to have to learn to live with each other.” The powerful, immersive film was edited by Niels Pagh Andersen, who worked on Joshua Oppenheimer’s searing The Act of Killing and The Look of Silence, from nine hundred hours of footage, with a score by Karsten Fundal and a dozen cinematographers, among them Ai, Christopher Doyle, Zhang Zanbo, Konstantinos Koukoulis, and Johannes Waltermann. “The more immune you are to people suffering, that’s very, very dangerous. It’s critical for us to maintain this humanity,” one woman says, and that gets right to the heart of the film. Human Flow is very personal to Ai, whose own battles with Chinese authorities and exile — he spent much of his childhood in a hard labor camp in the Gobi Desert because his father, a poet and intellectual, was part of a revolutionary group, and as an adult Ai has been imprisoned, placed under house arrest, and beaten for his activism — were detailed in the Ai Weiwei: Never Sorry. A masterful Conceptualist whose work explores sociocultural elements through a historical lens, Ai has always believed that artists have a responsibility to reveal the truth, and that’s precisely what he does in Human Flow, with a determined fearlessness to do what’s right.
In one of the film’s most heart-wrenching moments, thirteen thousand refugees, mostly from Syria, Iraq, and Afghanistan, walk through the Greek countryside toward the Macedonian border, only to find that a fence has been erected and the entrance is now closed, leaving them with nowhere to go. It’s a harrowing scene, but Ai is no mere doomsayer. There are many shots in the film that show children running about and playing, laughing and smiling for the camera, still filled with hope for a better life. It’s the rest of the world’s job to make that happen, and as Ai exemplifies, every one of us can make a difference. Ai will participate in Q&As following the 4:30 screening at the Quad as part of the “One Shots” series and after the 7:00 show at BAMcinématek, the latter moderated by Laura Poitras (Citizenfour, Astro Noise). The film was released in conjunction with the Public Art Fund project “Ai Weiwei: Good Fences Make Good Neighbors,” consisting of dozens of installations and interventions in all five boroughs: at Doris C. Freedman Plaza, the Washington Square Arch, the Unisphere, Essex Street Market, the Cooper Union, bus shelters, lampposts, newsstand kiosks, and other locations, furthering Ai’s artistic ideas about immigrant bans and the treatment of refugees, spread across a city he called home in the 1980s.
Since 1997, producer and curator Ron Diamond has been presenting The Animation Show of Shows, an annual collection of animated short films from around the world, celebrating the vast array of innovation in the medium. The nineteenth edition of the series opens December 29 at the Quad, featuring sixteen works from Belgium, Canada, France, Germany, England, Sweden, Switzerland, and the United States, with an overarching theme of finding one’s place and seeking connections in a world exploding with natural beauty despite our growing dependence on technology. The ninety-minute compilation opens with Quentin Baillieux’s thumping music video for Charles X’s “Can You Do It,” which equates the street and the elite via a horse race through Los Angeles. That is followed by Lia Bertels’s exquisite Tiny Big, consisting of individual 2D hand-drawn scenes of “everyday dancers possessed by the spirits of earth, love & money,” made up of minimalist black-and-white line drawings with occasional bursts of color, backed with subtle sounds of wind and water, along with spare piano music based on Puccini’s Madame Butterfly, and boasting a wry sense of humor. Two-time Oscar winner Pete Docter’s (Up, Inside Out) 1990 short, Next Door, is about a young girl with a vast imagination playing outside, annoying the old man who lives next door; she is surrounded by circles, while he is trapped in a square environment. Jac Clinch’s The Alan Dimension follows the travails of a middle-aged man named Alan, who can see six minutes into the future, believing that he is “the next step in cognitive evolution,” becoming obsessed with his power and angering his wife; BAFTA nominee Clinch uses stop-motion, 2D, and CG animation that includes photographic backgrounds that enhance the overall atmosphere. Paul Julian and Les Goldman’s 1964 warning, Hangman, which was made for classrooms and is based on a poem by Maurice Ogden, has been lovingly restored and is as relevant as ever; the film unfolds like a picture book brought to life, with frames reminiscent of paintings by Dali and de Chirico and narration by Herschel Bernardi.
In The Battle of San Romano, Georges Schwitzgebel animates the painting by Paolo Uccello about the war between Florence and Siena; Aurore Gal, Clémentine Frère, Yukiko Meignien, Anna Mertz, Robin Migliorelli, and Romain Salvini’s Gokurosama is like a computer game loaded with sight gags as a woman is taken to a mall chiropractor; Kobe Bryant honors himself with the autobiographical Dear Basketball, directed by Disney veteran Glen Keane and with a score by Oscar-winning composer John Williams; Alan Watts narrates David O’Reilly’s Everything; Steven Woloshen’s Casino is set to Oscar Peterson’s “Something Coming” and drawn directly on film stock; Alexanne Desrosiers’s Les Abeilles Domestiques sees humanity as “domestic bees,” one long take of a hive mind comprising cool visual and aural connections; Tomer Eshed’s Our Wonderful Nature: The Common Chameleon riffs on nature documentaries; Elise Simard uses mixed media on paper, cut-out animation, photography, and video in Beautiful Like Elsewhere; and Robert Löbel & Max Mörtl’s Island builds a bizarre community out of playful shapes, colors, and sounds. Perhaps the most realistic and emotional film is Parallel Studio’s Unsatisfying, a series of quick clips of things going wrong over melancholy music; its popularity led to the Unsatisfying challenge, in which people were invited to animate other failures, which you can see here. Which brings us to the pièce de résistance, Niki Lindroth von Bahr’s Hollywood musical takeoff, The Burden, about loneliness and existential anxiety experienced by night workers, starring upright fish at the Hotel Long Stay, mice at a fast-food restaurant, monkeys at a call center, and dogs in a supermarket. The characters break out into song, making such declarations as “I have no one to be with / I don’t know why / Or actually I do know why” and “But I have my own dreams / my own needs / I don’t demand much / My life is drifting away.” The models and puppets are all handmade, the score was written by Hans Appelqvist and recorded live by a sixteen-piece orchestra, and the choreography and camera angles are worthy of Busby Berkeley. It’s a statement of our times, and a deeply entertaining and thought-provoking one at that. Over the years, The Animation Show of Shows has screened three dozen shorts that went on to garner Oscar nominations, with ten winning the award. Several of the works in the nineteenth edition are deserving of awards as well, first and foremost The Burden, which has deservedly taken home many international prizes.