Japanese dancer and choreographer Akiko Kitamura and Cambodian photographer Kim Hak collaborate on the multimedia Cross Transit at Japan Society (photo © Ayumi Sakamoto)
Japan Society
333 East 47th St. at First Ave.
Friday, March 22, and Saturday, March 23, $30, 7:30
212-715-1258
www.japansociety.org
www.akikokitamura.com
“These are the memories of human beings,” Cambodia photographer Kim Hak says in Cross Transit, an engrossing collaboration with Japanese dancer and choreographer Akiko Kitamura and Amrita Performing Arts Center of Phnom Penh. There’s one night left — March 23 — to see the show at Japan Society. With the seventy-five-minute multimedia piece, Kitamura continues her exploration of the future of Asia, following To Belong, on which she worked with Indonesian artists on such topics as diversity and inclusion. Cross Transit is Kitamura and Hak’s attempt to recapture a past that has gone missing because of the violent reign of the Khmer Rouge from 1975 to 1979; in a way, the work is a dance about photography and architecture. In voiceover Cambodian narration that is translated by an English speaker, Hak explains that many families, including his own, had to either destroy or bury personal photos to protect themselves from the oppressive regime, hiding their identities to avoid being arrested, tortured, and killed.
While recovered family photos and new pictures taken by Hak of abandoned buildings are projected behind them on three stretched canvases, Kitamura, Ippei Shiba, Yuka Seike, Yuki Nishiyama, Llon Kawai, and Chy Ratana move about the otherwise dark stage like lost souls or ghosts, reaching out with their hands and arms, trying to make connections in awkward, aggressive ways. They dance in haunting silence, to Hak’s words, narration by Paul Dargan, electronic noise, a Cambodian pop song, percussive sounds evoking gunshots and the snap of a camera, original music by Hiroaki Yokoyama, and vocalizations by Yoshie Abe; Akihiko Kaneko designed the set and the projected films, with dramatic lighting by Yuji Sekiguchi and naturalistic costumes by Tomoko Inamura. The motion of the dancers is initially slow and individual but eventually moves more closely in unison, with several impressive lifts and carries and rolls along the floor. In one section the dancers call out words in English, Japanese, and Cambodian, including “Here,” “Home,” “Now,” and “What are you talking about?” (The non-English words are not translated.) The Cross Transit project, which began in 2014, continues with “vox soil,” a collaboration between Cambodian, Indonesian, Indian, and Japanese artists. Kitamura (Enact Frames of Pleasure, Ghostly Round) and Hak will participate in a Q&A following the March 23 performance at Japan Society.
Suspense master Henri-Georges Clouzot’s The Mystery of Picasso, now playing at Film Forum in a beautiful 4K restoration from Milestone, is one of the most thrilling films ever made about art and the creative process. In the 1949 short Visit to Picasso, Belgian director Paul Haesaerts photographed Pablo Picasso painting on a glass plate. Picasso and his longtime friend Clouzot take that basic concept to the next level in The Mystery of Picasso, in which the Spanish artist uses inks that bleed through paper so Clouzot can shoot him from the other side; the works unfold like magic, evolving on camera seemingly without the genius present. “We’d give anything to have been in Rimbaud’s mind while he was writing ‘Le Bateau Ivre,’ or in Mozart’s while he was composing the Jupiter Symphony, to discover this secret mechanism that guides the creator in a perilous adventure,” Clouzot says at the beginning. “Thanks to God, what is impossible in poetry and music is attainable in painting. To find out what goes on in a painter’s head, you need to follow his hand. A painter’s adventure is an odd one!” It’s breathtaking as the pictures emerge, revealing Picasso’s remarkable command of line, altering images as he pleases with just a brushstroke or two.
