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

CHARLES BUKOWSKI MEMORIAL READING 2015

Who: Three Rooms Press Presents the Monthly @ Cornelia Street Cafe
What: Eighth Annual Charles Bukowski Memorial Reading
Where: Cornelia Street Cafe, 29 Cornelia St., 212-989-9319
When: Friday, January 2, $12 (includes one drink), 6:00 pm
Why: Bicarbonate of Bukowski Tribute Readings with Kim Addonizio, Richard Vetere, Michael Puzzo, Puma Perl, Thomas Fucaloro, Peter Carlaftes, and anyone else who signs up before 6:00, hosted by Kat Georges and featuring rare videos, oral history, prizes, and more

NEW YEAR’S DAY MARATHON BENEFIT READING

John Giorno will once again be part of the New Years Day Marathon Reading at the Poetry Project

John Giorno will once again be part of the New Year’s Day Marathon Benefit Reading at the Poetry Project (photo by Sarah Wells 1981)

Who: The Poetry Project
What: Forty-first Annual New Year’s Day Marathon Benefit Reading
Where: The Poetry Project at St. Mark’s Church, 131 East Tenth St., 212-674-0910
When: Thursday, January 1, $20, 2:00 pm – 12 midnight
Why: More than 140 poets, including Anne Waldman Anselm Berrigan, Bob Rosenthal, CAConrad, Dael Orlandersmith, Eileen Myles, Elinor Nauen, Matt Longabucco & Nicole Eisenman, JD Samson, John Giorno, John S. Hall, Jonas Mekas, Kristin Prevallet, Lenny Kaye, Luciana Achugar, Matthew Shipp, Monica de la Torre, Nick Hallett, Penny Arcade, Philip Glass, Steve Dalachinsky, Thomas Sayer Ellis and James, Yuko Otomo, and Vito Acconci

JANUARY PERFORMANCE FESTIVALS

Who: COIL
What: Interdisciplinary festival featuring dance, theater, music, art, and discussion, organized by PS 122
Where: Baryshnikov Arts Center, Chocolate Factory, Vineyard Theatre, Invisible Dog Art Center, the Swiss Institute, Asia Society, Parkside Lounge, New Ohio Theatre, Danspace Project, Times Square
When: January 2-17, free – $30
Why: Dancers and choreographers Molly Lieber and Eleanor Smith in Rude World; Temporary Distortion’s durational multimedia live installation My Voice Has an Echo in It; Faye Driscoll’s extraordinary, interactive Thank You for Coming: Attendance; Alexandra Bachzetsis’s Diego Velázquez-inspired From A to B via C

Who: Under the Radar Festival and Incoming!
What: Interdisciplinary festival featuring dance, theater, music, and art, organized by the Public Theater
Where: The Public Theater, 425 Lafayette St., and La MaMa, 74 East Fourth St.
When: January 7-18, free – $40
Why: Daniel Fish’s A (radically condensed and expanded) Supposedly Fun Thing I’ll Never Do Again based on audio recordings of David Foster Wallace; Marie-Caroline Hominal’s The Triumph of Fame, a one-on-one performance inspired by Petrarch’s “I Trionfi”; Taylor Mac’s A 24-Decade History of Popular Music: 1900-1950s; Toshi Reagon’s Octavia E. Butler’s Parable of the Sower: The Concert Version; Reggie Watts’s Audio Abramović, in which Watts will go eye-to-eye with individuals for five minutes

Who: American Realness
What: Interdisciplinary festival featuring dance, theater, music, art, conversation, discussion, readings, and a workshop, organized by Abrons Arts Center
Where: Abrons Arts Center, 466 Grand St.
When: January 8-18, $20
Why: World premiere of Jack Ferver’s Night Light Bright Light; Cynthia Hopkins’s A Living Documentary; Tere O’Connor’s Undersweet; Luciana Achugar’s Otro Teatro: The Pleasure Project; My Barbarian’s The Mother and Other Plays; Dynasty Handbag’s Soggy Glasses, a Homo’s Odyssey

Who: Prototype
What: Festival of opera, theater, music, and conversation
Where: HERE, St. Paul’s Chapel, La MaMa, St. Ann’s Warehouse, Park Ave. Armory, Joe’s Pub
When: January 8-17, $22-$75
Why: The Scarlet Ibis, inspired by James Hurst’s 1960 short story; Carmina Slovenica’s Toxic Psalms; Bora Yoon’s Sunken Cathedral; Ellen Reid and Amanda Jane Shark’s Winter’s Child

Who: Winter Jazzfest NYC
What: More than one hundred jazz groups playing multiple venues in and around Greenwich Village
Where: The Blue Note, (le) poisson rouge, Judson Church, the Bitter End, Subculture, Bowery Electric, others
When: January 8-10, $25-$145
Why: Catherine Russell, David Murray Infinity Quartet with Saul Williams, Jovan Alexandre & Collective Consciousness, Marc Ribot & the Young Philadelphians with Strings, So Percussion Feat. Man Forever, Theo Bleckmann Quartet with Ambrose Akinmusire, and David Murray Clarinet Summit with Don Byron, David Krakauer, and Hamiet Bluiett

ZERO: COUNTDOWN TO TOMORROW, 1950-60s

Otto Piene, “Venus of Willendorf (Venus von Willendorf),” oil and soot on canvas, 1963 (© Otto Piene; photo courtesy Stedelijk Museum Amsterdam)

Solomon R. Guggenheim Museum
1071 Fifth Ave. at 89th St.
Friday – Wednesday through January 7, $18-$22 (pay-what-you-wish Saturday 5:45-7:45)
212-423-3587
www.guggenheim.org

The Guggenheim completes its third revelatory group show in a row with “ZERO: Countdown to Tomorrow, 1950s–60s,” coming hot on the heels of “Gutai: Splendid Playground” and “Italian Futurism, 1909–1944: Reconstructing the Universe.” Founded in 1957 by German artists Otto Piene and Heinz Mack, Zero brought together European artists who sought a fresh, optimistic start following the devastation of WWII. “From the beginning we looked upon the term [ZERO] not as an expression of nihilism — or as a dada-like gag, but as a word indicating a zone of silence and of pure possibilities for a new beginning as at the countdown when rockets take off — zero is the incommensurable zone in which the old state turns into the new.” Joined by Günther Uecker in 1961, the collective created monochromatic paintings, kinetic sculptures, and action works that explored light, nature, and space, often removing the hand of the artist. Subtle, complex brushstrokes of multiple colors were not on the agenda; instead, Lucio Fontana slashed his canvases, Uecker hammered in nails, and Piene, Yves Klein, Bernard Auberlin, Piero Manzoni, and Henk Peeters used fire and soot. Numerous pieces, including Gianni Colombo’s “Pulsating Structure,” Klein’s “Space Excavator,” Daniel Spoerri’s “Auto-Theater,” Piene’s “Light Ballet,” and Jean Tinguely’s “Butterfly (Two Points of Stability),” contain mechanically powered elements that move, and in the Guggenheim show they are active only at timed intervals, adding an expectant quality to the viewer’s experience, which echoes the group’s hopefulness for the future. Meanwhile, Mack’s “Silver Dynamo,” Almir Mavignier’s “Convex-Concave II,” and Jesús Rafael Soto’s vibration works play with viewers’ perception in engaging ways.

During the early 1960s, Group Zero’s influence spread to Japan, the Americas, and other parts of Europe; the exhibition features more than 180 works by some forty artists from Belgium (Walter Leblanc, Paul Van Hoeydonck), Romania (Spoerri), Brazil (Almir Mavignie), the Netherlands (herman de vries, Jan Schoonhoven), Japan (Yayoi Kusama), America (Robert Breer, George Rickey), Switzerland (Dieter Roth), and other nations. Curator Valerie Hillings bookends “ZERO: Countdown to Tomorrow, 1950s–60s” with two wonderful rooms, beginning in the High Gallery with an examination of the seminal 1959 Antwerp exhibition “Vision in Motion — Motion in Vision,” which serves as a kind of primer for what visitors can expect as they make their way up the Guggenheim’s Rotunda to the very last room, which contains a re-creation of the 1964 Documenta 3 installation “Light Room: Homage to Fontana,” as light-based kinetic works by Mack, Piene, Ueker, and Fontana turn on and off seemingly randomly, casting shadows on the walls and lighting up the darkness. The exhibition closes on January 7 with the panel discussion “ZEROgraphy: Mapping the ZERO Network, 1957–67” ($12, 6:30), with Antoon Melissen, Johan Pas, and Francesca Pola, moderated by Hillings and followed by a reception and a final viewing.

THALIA DOCS — BORN TO FLY: ELIZABETH STREB vs. GRAVITY

Documentary reveals how Elizabeth Streb and her Extreme Action Company (including Jackie Carlson, seen here) take dance to a whole new level

BORN TO FLY: ELIZABETH STREB vs. GRAVITY (Catherine Gund, 2014)
Symphony Space, Leonard Nimoy Thalia
2537 Broadway at 95th St.
Sunday, December 21 & 28 and January 4, $14, 4:30
212-864-5400
www.symphonyspace.org
www.borntoflymovie.com

Over the last several years, New Yorkers have gotten the chance to see Elizabeth Streb’s Extreme Action Company perform such dazzling works as Ascension at Gansevoort Plaza, Kiss the Air! at the Park Avenue Armory, and Human Fountain at World Financial Center Plaza as her team of gymnast-dancer-acrobats risk their physical well-being in daring feats of strength, stamina, durability, and grace. In addition, Streb herself walked down the outside wall of the Whitney as part of a tribute to one of her mentors, Trisha Brown. Now Catherine Gund takes viewers behind the scenes in the exhilarating documentary Born to Fly: Elizabeth Streb vs. Gravity, going deep into the mind of the endlessly inventive and adventurous extreme action architect and the courage and fearlessness of her company. Gund follows Streb as she discusses her childhood, her dance studies, the formation of STREB in 1985, and her carefully thought out views on space, line, and movement as her work stretches the limits of what the human body can do. “I think my original belief and desire is to see a human being fly,” Streb says near the beginning of the film, which includes archival footage of early performances, family photos, and a warm scene in which the Rochester-born Streb and her partner, Laura Flanders, host a dinner party in their apartment, cooking for Bill T. Jones, Bjorn Amelan, Anne Bogart, Catharine Stimpson, and A. M. Homes.

Elizabeth Streb and her partner, Laura Flanders, prepare for a dinner party in new documentary

Gund also speaks with current and past members of the talented, ever-enthusiastic company — associate artistic director Fabio Tavares, Sarah Callan, Jackie Carlson, Leonardo Giron, Felix Hess, Samantha Jakus, Cassandre Joseph, John Kasten, and Daniel Rysak — who talk about their dedication to Streb’s vision while using such words as “challenge,” “velocity,” “endurance,” “magic,” “invincibility,” and “risk” to describe what they do and how they feel about it. Gund focuses on the latter, as virtually every one of Streb’s pieces is fraught with the possibility of serious injury, as evidenced by their titles alone: Fly, Impact, Rebound, Breakthru, and Ricochet, not to mention the use of such materials as spinning I-beams, plastic barricades, dangling harnesses, and a rotating metal ladder. “I have to be able to ask someone to do that and be okay about it. Those aren’t easy requests,” Streb explains. “Knowing where you are is how you survive the work,” adds former STREB dancer Hope Clark. Gund goes with Streb to her doctor, where the choreographer describes what happened to her gnarled feet, and also meets with former dancer DeeAnn Nelson Burton, who had to retire after breaking her back. The film concludes with an inside look at STREB’s spectacular “One Extraordinary Day,” a series of hair-raising site-specific events staged for the 2012 London Olympics at such locations as the Millennium Bridge, the London Eye, and the sphere-shaped city hall, photographed by documentary legend Albert Maysles. In her Kickstarter campaign, Gund (Motherland Afghanistan, A Touch of Greatness) said, “Action architect Elizabeth Streb has reinvented the language of movement. [Born to Fly] will rewrite the language of documentary.” That’s a bold declaration, but the film does have a lot of the same spirit that Streb displays in her awe-inspiring work. Born to Fly is screening December 21 & 28 and January 4 at 4:30 as part of Symphony Space’s ongoing Thalia Docs series.

THE ART OF SEX AND SEDUCTION: THE MAN WHO LOVED WOMEN

Bertrand Morane (Charles Denner) keeps his eyes on he prize in François Truffaut’s THE MAN WHO LOVED WOMEN

CINÉSALON: THE MAN WHO LOVED WOMEN (L’HOMME QUI AIMAIT LES FEMMES) (François Truffaut, 1977)
French Institute Alliance Française, Florence Gould Hall
55 East 59th St. between Madison & Park Aves.
Tuesday, December 16, $13, 7:30
212-355-6100
www.fiaf.org

Back in October, a Hollaback! video went viral showing a young woman walking through New York City as men harassed her by calling out suggestively to her, looking luridly at her, and even following her. It’s hard not to think about that video, posted by a nonprofit “dedicated to ending street harassment,” when watching François Truffaut’s 1977 film, The Man Who Loved Women. As Maurice Jaubert’s bright, cheery score plays, a string of women get out of their cars to attend a funeral. The hearse drives past the camera — just as cinematographer Nestor Almendros’s name flashes on the screen — and holds for a few seconds as Truffaut himself watches the hearse go by, then walks off in the other direction. “One funeral is just like another,” Geneviève (Brigitte Fossey) says in voice-over. “However, this one is special. Not a man in sight. Only women . . . nothing but women.” They have all gathered to say farewell to Bertrand Morane (Charles Denner), a man obsessed with the fairer sex, particularly when he sees their bare ankles and calves. He goes to great lengths to find them, to be with them, but he is no mere ladies’ man or womanizing misogynist seeking to add notches to his belt. Deeply affected by his rather offbeat relationship with his mother (Marie-Jeanne Montfajon), he finds it impossible to stop these constant urges. He works in a lab building and testing model airplanes for the military, still a child playing with toys. He is not a particular handsome man, nor is he that dapper or charming, but there is something in his eyes, in his mannerisms, that make him surprisingly desirable to the opposite sex. He is after more than just physical pleasure, but it always remains just out of his grasp, leaving an empty hole inside that he tries to fill by writing a book about his numerous exploits and endless search for happiness, a journey that ends with his premature death.

Bertrand Morane (Charles Denner) decides to share his love of women with the rest of the world

Truffaut, who based some situations in the film on his own life with women and his mother, fills The Man Who Loved Women with a bevy of beauties, including Nelly Borgeaud, Geneviève Fontanel, Valérie Bonnier, Nathalie Baye, and Leslie Caron. But The Man Who Loved Women is not just about eye candy, even with the nudity; it’s about the search for true love, as evidenced by a late scene between Bertrand and former flame Véra (Caron). It’s also about the art of storytelling itself, told in flashback and, in the second half, focusing on Bertrand’s book, with a stream of clever self-references linking cinema and literature. Denner, who previously starred in Truffaut’s The Bride Wore Black, has an uncanny way of making us root for him despite the sheer political incorrectness of his raison d’être; The Man Who Loved Women is probably not on Hollaback!’s Christmas wish list. But as crafted by screenwriters Truffaut, Michel Fermaud, and Suzanne Schiffman, the film, which is set in the pretty city of Montpellier in the south of France, portrays Bertrand as a kind of romantic antihero, an everyman who is fully aware of what he is doing but just can’t stop it. The film was remade in 1983 by Blake Edwards with Burt Reynolds, Julie Andrews, and Kim Basinger, but it’s not the same, of course. Truffaut’s The Man Who Loved Women, which earned César nominations for Denner, Borgeaud, and Fontanel, concludes the French Institute Alliance Française CinéSalon series “The Art of Sex and Seduction” on December 16 at 7:30, introduced by cultural critic Laura Kipnis.

A PARTICLE OF DREAD (OEDIPUS VARIATIONS)

Oedipus (Stephen Rea) and a ragged traveler (Lloyd Hutchinson) discuss life and death in A PARTICLE OF DREAD (photo by Matthew Murphy)

The Pershing Square Signature Center
The Alice Griffin Jewel Box Theatre
480 West 42nd St. between Tenth & Eleventh Aves.
Tuesday – Sunday through January 4, $25 through December 23, $55 after
212-244-7529
www.signaturetheatre.org

Pulitzer Prize-winning playwright Sam Shepard continues his Legacy residency at the Signature Theatre with A Particle of Dread (Oedipus Variations), a contemporary examination of the Oedipus myth first explored by Sophocles nearly twenty-five-hundred years ago. Presented with Brian Fiel and Stephen Rea’s Derry-based Field Day Theatre Company, where the ninety-minute play premiered in the fall of 2013, A Particle of Dread (Oedipus Variations) mixes two primary story lines, one taking place in Northern Ireland during the Troubles, the other set in the California desert. In the former, gangster kingpin Lawrence/Laius (Aidan Redmond) receives a prophecy from Uncle Del (Lloyd Hutchinson) that “any child born to you and your lovely queen, Jocasta, will turn out to be your killer and the husband of his mother,” so he locks his wife (Brid Brennan) in a cage. Meanwhile, out in the Far West of America, highway patrol officer Harrington (Jason Kolotouros) and forensic investigator RJ Randolph (Matthew Rauch) are on the case of a triple murder that the wheelchair-bound Otto (Rea) is obsessed with. “None of it makes any sense! Are you kidding? This is just — this is just plain old slaughter — butchery. Like the old days,” Harrington says. “Old days?” Randolph asks. “Disemboweling — hearts torn out — drawn and quartered — heads rolling. Blood dripping down the altar steps,” Harrington replies. Randolph: “Oh — ancient then?” Harrington: “Ancient, yes, but —” Randolph: “Everything has a history, doesn’t it? I mean, this stuff didn’t come out of thin air.” Everything does have a history, which Shepard delves into as the two stories echo each other and merge, “draped in mystery and confusion,” as Oedipus (Rea) says.

Aidan Redmond plays gangster kingpin Langos and ancient king Laius in Sam Shepard play (photo by Matthew Murphy)

Mystery and confusion abound in Shepard’s play, which reunites the two-time Tony nominee with longtime collaborators Rea (Geography of a Horse Dreamer, Kicking a Dead Horse) and director Nancy Meckler (Curse of the Starving Class, Buried Child), who have worked with one another on and off since the 1970s. The intersecting plots take place on Frank Conway’s clinically white-tiled set stained with blood, a clothesline of torn fabrics representing drying intestines in one corner, above which is an alcove where cellist Neil Martin and slide guitarist Todd Livingston contribute live music. It’s not always easy to know who is who and when is when as the story drags on, with several of the actors playing more than one role, occasionally addressing the audience directly, and the accents, American and Irish, eventually seem to intermingle. (Brennan plays Jocasta and Jocelyn, Judith Roddy plays Antigone and Annalee, Redmond plays Laius and Larry, and Hutchinson is Uncle Del, a traveler, Tiresias, and the Maniac of the Outskirts.) The Oscar-nominated Rea (The Crying Game) reveals the most depth as Oedipus, who is seeking revenge for a past wrong, and Otto, whose daughter, Annalee, is trying to protect her infant son, getting to the heart of Shepard’s own forensic investigation of fate and destiny, parents and children, and murder and duality, showing how little humanity has changed through the ages. It all makes for a rather uncomfortable experience. “Oh, tragedy, tragedy, tragedy, tragedy / Piss on it / Piss on Sophocles’ head,” Annalee says. “What’s it for? Catharsis? Purging? Metaphor? What’s in it for us?” Despite some intense moments amid lofty ideals, A Particle of Dread leaves us to ponder such critical questions, about the play itself.