this week in lectures, signings, panel discussions, workshops, and Q&As

CELEBRATING LOU REED — 1942-2013: THE RAVEN & THE POETRY OF LOU REED / LOU REED: DRONES

The life and legacy of Lou Reed will be celebrated on July 30 with free all-day festival at Lincoln Center

The New York Public Library is celebrating the seventy-fifth anniversary of Lou Reed’s birth with a two-part exhibition and two live programs

Monday, March 13, New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, 40 Lincoln Center Plaza, free with advance registration, 7:00
Wednesday, March 15, New York Public Library, Stephen A. Schwarzman Building, Celeste Bartos Forum, 476 Fifth Ave. at 42nd St., free with advance registration, 6:00 – 10:00
www.nypl.org/loureed
www.loureed.com

In honor of what would have been Lou Reed’s seventy-fifth birthday on March 2 — the legendary Brooklyn-born musician passed away in October 2013 at the age of seventy-one — the New York Public Library is paying tribute to the Velvet Underground leader and solo star with a pair of exhibitions and two live programs. “Celebrating Lou Reed: 1942-2013” consists of items from the Lou Reed Archives, newly acquired by the library under the guidance of Reed’s widow, multimedia artist Laurie Anderson. The show runs through March 20 at the Library for the Performing Arts at Lincoln Center and the main branch at Fifth Ave. and Forty-Second St. In addition, on March 13 at 7:00 in the Bruno Walter Auditorium, “The Raven & the Poetry of Lou Reed” features a performance of Reed’s The Raven, based on the Edgar Allan Poe tale, and other poetry, with music and spoken word by Anderson and special guests. On March 15 in the Celeste Bartos Forum, the soundscape installation “Lou Reed: Drones” will be performed from 6:00 to 10:00, led by original Reed collaborator Stewart Hurwood, along with tai chi demonstrations led by Ren Guangyi at 7:00 and 9:00. Admission to all events is free, but advance registration is necessary for the live programs.

REMEMBERING FUKUSHIMA: ART AND CONVERSATIONS

Eiko will lead a special program on March 11 at St. John the Divine commemorating the sixth anniversary of the Fukushima disaster

Cathedral Church of St. John the Divine
1047 Amsterdam Ave. at 112th St.
Saturday, March 11, free with advance RSVP, 1:00 – 5:00
212-316-7540
www.eikoandkoma.org
www.stjohndivine.org

In 2014, New York–based Japanese teacher, dancer, and visual artist Eiko Otake brought her “Body in Places” solo project to Fukushima, site of the devastating 2011 earthquake, tsunami, and nuclear meltdown. On March 11, Eiko, the current Dignity Initiative Artist in Residence at the Cathedral Church of St. John the Divine, will commemorate the sixth anniversary of the tragedy with a special memorial program at the church, held in conjunction with the closing of the exhibition “The Christa Project: Manifesting Divine Bodies,” which Eiko cocurated and includes William Johnston’s photographs of Eiko in Fukushima. “Remembering Fukushima” will feature William Johnston, Marilyn Ivy, Thomas Looser, Mark McCloughan, Alexis Moh, Nora Thompson, Megu Tagami, John Kelly, Carol Lipnik, DonChristian Jones, Geo Wyeth, Ronald Ebrecht, Ralph Samuelson, Elizabeth Brown, Jake Price, Katja Kolcio, and NYC iSCHOOL and is dedicated to writer Kyoko Hayashi, who was scheduled to participate but passed away on February 19 at the age of eighty-six. Writing about a “practice run” of the program, Eiko explained in a statement, “I found myself speaking not only of how this artmaking was a way for me to personally empathize with the destruction caused by nuclear energy but also about how much it meant to me to be a part of this larger event with so many intelligent and creative people. I felt (and feel) honored to be one of many figuring out how to empathize with, speak truth of, and remember the Fukushima disaster.” Conceived and directed by Eiko, “Remembering Fukushima,” presented in association with Asia Society and Danspace Project, will take place from 1:00 to 5:00; admission is free with advance RSVP.

TICKET ALERT: CINEMA TWAIN WITH VAL KILMER

Val Kilmer will be at the SVA Theatre on March 24 to screen and discuss CINEMA TWAIN

Who: Val Kilmer
What: Screening of Cinema Twain, introduced by star Val Kilmer and followed by a Q&A
Where: SVA Theatre, 333 West 23rd St. between Eighth & Ninth Aves.
When: Friday, March 24, $39 (VIP $199)
Why: Val Kilmer, who has appeared in nearly eighty films since his debut in 1984’s Top Secret!, actually started his career onstage, including performing at the Public Theater (How It All Began) and on Broadway (The Slab Boys, with Kevin Bacon, Sean Penn, Jackie Earle Haley, and Brian Benben). The L.A.-born writer, actor, and director is now on the road presenting Cinema Twain, the filmed version of his one-man show in which he portrays Mark Twain. The brief tour comes to the SVA Theatre on March 24, when Kilmer (Top Gun, True Romance) will introduce the ninety-minute film and stick around for an audience Q&A after. Tickets are $39; if you go for the VIP experience, you get to chat with Kilmer for $199 and take photos with him.

A TRIBUTE TO TONY ROBERTS

Diane Keaton, Woody Allen, and Tony Roberts form quite a team in ANNIE HALL

ANNIE HALL (Woody Allen, 1977)
Film Forum
209 West Houston St.
Monday, March 13, $14, 7:00
212-727-8110
filmforum.org

“You’re an actor, Max. You should be doing Shakespeare in the Park,” Alvy Singer (Woody Allen) says to his best friend, Rob (Tony Roberts), in Annie Hall. “Oh, I did Shakespeare in the Park, Max. I got mugged. I was playing Richard the Second and two guys with leather jackets stole my leotard,” Rob responds. Tony Roberts is indeed an actor, with a fifty-five-year stage and screen career that includes six Allen films (Play It Again, Sam, Annie Hall, Stardust Memories, A Midsummer Night’s Sex Comedy, Hannah and Her Sisters, and Radio Days) and two Woodman plays (Don’t Drink the Water, Play It Again, Sam). Now seventy-seven, Roberts will be at Film Forum on March 13 for a special tribute; the evening begins with a screening of Annie Hall, which won four Oscars (Best Picture, Best Director, Best Original Screenplay, Best Actress for Diane Keaton), followed by a conversation between Roberts and actor/producer John Martello, the former longtime executive director of the Players Club who was fired over a financial dispute in April 2013.

Best friends Alvy Singer (Woody Allen) and Rob (Tony Roberts) play tennis in ANNIE HALL

In Annie Hall, the steadfast, skirt-chasing Roberts stars as an actor on a hit TV series who is loving life in California, which disappoints Singer. During the film, Rob dons a sharp white suit, a space outfit, and tennis gear; however, unlike in the Broadway show Doubles, Roberts keeps his clothes on. The New York City native and two-time Tony nominee has also appeared in such films as Serpico, The Taking of Pelham One Two Three, Amityville 3-D, and Switch and such Broadway productions as Barefoot in the Park, They’re Playing Our Song, The Sisters Rosensweig, and Promises, Promises. He also starred in an all-star two-part Love Boat episode as cruise director Julie McCoy’s (Lauren Tewes) long-lost love; the cast also included Lorne Green, Mark Harmon, Eleanor Parker, Ray Milland, Julia Duffy, Donny Most, and Lisa Hartman. It should be a splendid event honoring this character actor extraordinaire, who gets to play a leading role for a night.

OM LAB: OFFER YOUR VOICE

Visitors can contribute to a collective OM at Rubin Museum

Visitors can contribute to a collective OM in Rubin Museum installation

Rubin Museum
150 West 17th St. at Seventh Ave.
Wednesday – Monday through May 8, $10-$15 (free Fridays 6:00 – 10:00)
212-620-5000
rubinmuseum.org

People have been chanting the sacred Sanskrit syllable “OM” for three centuries, believing it is “the sum total of everything.” Visitors are now offered the opportunity to become part of the largest collective OM in history in the participatory Rubin Museum exhibit “OM Lab.” Through May 8, everyone is invited to go to the sixth floor of the former Barney’s home and share their cosmic vibration in a sound booth. As you record your “OM,” your personal sound waves are projected on the wall behind the booth. As you wait in line, you can read banners that explore the derivation and utilization of the sound, including “The Supreme Mantra and Imperishable Truth,” “The Instrument of Transformation,” and “The Mantra of Many Faiths” (Hindu, Buddhism, Jainism, Sikhism). “OM connects you to history,” Rosanne Cash explains in her “Why I OM” video made for the Rubin. “We connect to those who have done it before us. . . . There’s something about it; it just feels so good in your head, and in your chest, and in your mouth. It’s familiar.” That connection will be felt when the Rubin turns all of the “OM Lab” recordings into a single, collective chant that will be on display beginning June 16 in “The World Is Sound” exhibit. “Sound has always been a primary aspect of spiritual inquiry,” yoga master Rodney Yee says in his “Why I OM” video. “There is an open sound, and then there is an ending, a closure. So, ‘Amen,’ ‘OM,’ I think they do something to the physiology of the human body. They create both a giving and a receiving. It ends up actually having an amazing unifying effect if people allow themselves to drop into it.” And you don’t have to be a practitioner to participate; going into that booth and letting your OM sing is a freeing, cathartic experience, even if you’ve never done it before. In conjunction with the exhibit, on April 22 ($25) calligrapher and artist Tashi Mannox will host “Sacred Syllables and Their Sounds,” followed by the launch of the second edition of his book Sacred Scripts: A Meditative Journey Through Tibetan Calligraphy, and on May 6 ($108), Satya Scainetti will lead the workshop “Mala for Mother’s Day,” in which participants can create a garland of prayer beads made from angelite, black onyx, carnelian, fancy jasper, green onyx, or rose quartz, each of which has different peaceful properties for the mind, body, and soul.

TALES OF OUR TIME

Tsang Kin-Wah, “No(thing/Fact) Outside,” vinyl, 2016 (photo by twi-ny/mdr)

Solomon R. Guggenheim Museum
1071 Fifth Ave. at 89th St.
Through March 10 (closed Thursday), $18 – $25 (pay-what-you-wish Saturday 5:45-7:45)
212-423-3587
www.guggenheim.org

The Guggenheim’s “Tales of Our Time” exhibition, featuring half a dozen contemporary Chinese artists and collectives, comes to a close this week with several final events. On March 7 and 8 at 7:00 and 9:30, Raimundas Malašauskas and Marcos Lutyens’s hour-long, site-specific “Hypnotic Show” is a conceptual, imaginary experiment in cognitive narrative. On Wednesday afternoon, 1:30 to 5:45, Yangjiang Group’s “Unwritten Rules Cannot Be Broken” will be activated for the last time, a tea gathering in which visitors can sit down in a peaceful environment, sip tea, contemplate calligraphy, and measure their heart rate and blood pressure before and after the communal experience. The second exhibition of the Robert H. N. Ho Family Foundation Chinese Art Initiative, “Tales of Our Time” consists of specially commissioned works commenting on place and history, inspired by the 1936 book Gushi xin bian (Old Tales Retold) by Lu Xun. In “Taxi,” Taipei artist Chia-En Jao films his political conversations with cabdrivers as he goes to historically significant locations; meanwhile, his unique coat-of-arms flag titled “Arms No. 31” reveals key moments in Taiwan’s history through detailed symbolism. Zhou Tao’s two-channel video “Land of the Throat” depicts current landscapes undergoing development, with some futuristic, otherworldly elements added. Kan Xuan’s “Kū Lüè Er,” which translates as “to circle a piece of land,” is a multichannel installation of stop-motion cell-phone pictures and sandstone sculptures of barbed wire exploring the evolution and erosion of cities and the relationship between nature and humanity.

In addition to the Wednesday tea gathering, Yangiang Group’s “Unwritten Rules Cannot Be Broken” boasts a balcony garden and a three-level green post of calligraphy that references a newspaper headline in which former vice president Joe Biden discussed healthy competition between China and the United States. Hong Kong artist Tsang Kin-Wah’s “In the End Is the Word” references the battle between China and Japan as ships fight it out on the ocean, concluding with a stream of phrases from such philosophers as Marx, Sartre, Derrida, and Nietzsche (“The end of its miserable life,” “Fill and refill all over again”) pouring off the screen, morphing into “No(thing/Fact) Outside,” the vinyl words spreading over nearby walls, a staircase, the floor, and even an elevator. Sun Xun’s “Mythological Time” revisits the coalmine of his hometown of Fuxin in a stop-motion charcoal animation and mural reminiscent of the work of William Kentridge. Finally, Sun Yuan and Peng Yu’s “Can’t Help Myself” is a giant industrial robot that performs balletic moves as it tries to keep viscous red liquid resembling blood into a confined area around it while the liquid inevitably oozes away and at times ends up splattered on the polycarbonate wall, referencing both automation and endless violence. Speaking of place and history, the Guggenheim is also celebrating its eightieth anniversary with the greatest-hits exhibition “Visionaries: Creating a Modern Guggenheim,” exploring the past, present, and future of the collection.

AGNÈS VARDA — LIFE AS ART: DAGUERRÉOTYPES

Agnès Varda will be at FIAF on March 7 to talk about her 1975 documentary, DAGUERRÉOTYPES

CinéSalon: DAGUERRÉOTYPES (Agnès Varda, 1975)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, March 7, $14, 4:00 & 7:30
Series continues Tuesday nights through March 21
212-355-6100
fiaf.org

On February 28, legendary auteur Agnès Varda was at FIAF for the special talk “Agnès Varda: Visual Artist.” The Belgium-born, France-based Varda, who is eighty-eight, will be back at FIAF on March 7 for the 7:30 screening of her 1975 documentary, Daguerréotypes, after which she will participate in a Q&A with former MoMA curator Laurence Kardish. (The film will also be shown at 4:00; both screenings will be followed by a wine and beer reception.) The eighty-minute work, which only received its official U.S. theatrical release in 2011 at the Maysles Cinema, is an absolutely charming look at Varda’s longtime Parisian community. In the film, Varda, who has made such New Wave classics as Cléo de 5 à 7 and Le Bonheur as well as such seminal personal documentaries as The Gleaners and I and The Beaches of Agnès, turns her camera on the people she and husband Jacques Demy lived with along the Rue Daguerre in Paris’s 14th arrondissement. Varda, who also narrates the film, primarily stands in the background while capturing local shopkeepers talking about their businesses and how they met their spouses as customers stop by, picking up bread, meat, perfume, and other items. Varda uses a goofy, low-rent magic show as a centerpiece, with many of the characters attending this major cultural event; the magician references the magic of both life and cinema itself, with Varda titling the film not only after the street where she lives but also directly evoking the revolutionary photographic process developed by Louis Daguerre in the 1820s and ’30s. Daguerréotypes has quite a different impact now than it did back in the mid-1970s, depicting a time that already felt like the past but now feels like a long-forgotten era, when neighbors knew one another and lived as a tight-knit community. The FIAF CinéSalon series “Agnès Varda: Life as Art” continues with Jacqot de Nantes on March 14 and Lola on March 21. Varda fans will also want to check our her gallery show at Blum & Poe, which runs through April 15.