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

NYFF59 MAIN SLATE: BAD LUCK BANGING OR LOONY PORN

Emi (Katia Pascariu) goes on a strange journey in Rade Jude’s Bad Luck Banging or Loony Porn

BAD LUCK BANGING OR LOONY PORN: A SKETCH FOR A POSSIBLE FILM (BABARDEALA CU BUCLUC SAU PORNO BALAMUC) (Radu Jude, 2021)
New York Film Festival, Lincoln Center
Saturday, September 25, Alice Tully Hall, with virtual Q&A, 9:00
Sunday, September 26, Francesca Beale Theater, 8:00
www.filmlinc.org

Radu Jude’s brilliantly absurdist Bad Luck Banging or Loony Porn lives up to its title, a wildly satiric takedown of social mores that redefines what is obscene. Winner of the Golden Bear for Best Film at the 2021 Berlinale, the multipart tale begins with an extremely graphic prologue, a XXX-rated homemade porn video with a woman and an unseen man holding nothing back. In the first main section, the woman, a successful teacher named Emi (Katia Pascariu), is distressed to learn that the video is threatening to go viral. She determinedly walks through the streets of Bucharest, buying flowers (which she holds upside down), discussing her dilemma with her boss, the headmistress (Claudia Ieremia), and calling her husband, Eugen, trying to get the video deleted before her meeting with angry parents at the prestigious private school where she teaches young children.

Jude and cinematographer Marius Panduru follow the masked Emi — the film was shot during the pandemic, so masks are everywhere — on her journey, the camera often lingering on the scene well after Emi has left the frame, focusing on advertising billboards, couples in the middle of conversations, people waiting for a bus, and other random actions, before finding Emi again. She sometimes fades into the background, barely seen through the windows of a passing vehicle or amid a crowd crossing at a light. She gets into an argument with a man who has parked on the sidewalk, blocking her way; she insists that he move the car, but he unleashes a stream of misogynistic curses. Swear words are prevalent throughout the film, mostly adding poignant humor.

The second segment consists of a montage of archival and new footage that details some of Romania’s recent history, involving the military, the government, religion, fascism, Nazi collaboration, patriotism, the two world wars, the 1989 revolution, Nicolae Ceaușescu, domestic violence, jokes about blondes, and the value of cinema itself. The bevy of images also points out which NSFW word is most commonly looked up in the dictionary, as well as which is second. (The film is splendidly edited by Cătălin Cristuțiu, with a fab soundtrack by Jura Ferina and Pavao Miholjević.)

It all comes together in the third section, in the school garden, where Emi faces a few dozen masked, socially distanced, very angry parents and grandparents who want her fired immediately, while the headmistress demands a calm discussion. The masked Emi is a stand-in for all of us, facing the wrath of the unruly mob forcing its sanctimonious platitudes on others when it really needs to look at itself. It’s a riotously funny sitcomlike debate in which Jude roasts many common, hypocritical beliefs held by Romanians (and people all over the world) that have not necessarily changed much from the news clips shown in the previous part.

The cartoonish cast, which includes Olimpia Mălai as Mrs. Lucia, Nicodim Ungureanu as Lt. Gheorghescu, Alexandru Potocean as Marius Buzdrugovici, and Andi Vasluianu as Mr. Otopeanu, really gets to strut its stuff while making sure their masks are properly covering their mouths and noses. They argue about beloved national poet Mihai Eminescu and Russian writer Isaac Babel, delve into various sexual positions, repeat Woody the Woodpecker’s trademark call, and quote long, intellectual passages from the internet as Jude (I Do Not Care If We Go Down in History as Barbarians, Aferim!) reveals where society’s true obscenities lie. It’s an irreverent tour de force that offers three distinct endings to put a capper on the strangely alluring affair, turning a scary mirror on the sorry state of twenty-first-century existence.

Playfully subtitled A Sketch for a Possible Film in a reference to André Malraux’s description of Eugène Delacroix’s belief that his sketches could be of the same quality as his paintings, Bad Luck Banging or Loony Porn is making its US premiere September 25 and 26 at the New York Film Festival; the first screening will be followed by a virtual Q&A. The film opens in theaters November 19.

IN BALANCHINE’S CLASSROOM

New documentary focuses on George Balanchine’s teaching methods (photo by Martha Swope)

IN BALANCHINE’S CLASSROOM (Connie Hochman, 2021)
Film Forum
209 West Houston St.
Opens Friday, September 17
212-727-8110
filmforum.org

This summer, dance fans have been treated to behind-the-scenes glimpses at the creative process of three legendary choreographers. First was Bill T. Jones in Rosalynde LeBlanc and Tom Hurwitz’s Can You Bring It: Bill T. Jones and D-Man in the Waters, followed by Alvin Ailey in Jamila Wignot’s Ailey. Now comes an exciting look at New York City Ballet cofounder George Balanchine in Connie Hochman’s In Balanchine’s Classroom, opening September 17 at Film Forum. Hochman, who trained at Balanchine’s School of American Ballet and danced with the Pennsylvania Ballet, has been working on the film since 2007, interviewing one hundred people who worked with Balanchine and gaining access to the archives of the George Balanchine Trust, incorporating rare, never-before-seen footage of Balanchine teaching his company in his unique style.

Several prominent former NYCB dancers share their experiences of the classes, in which Balanchine would focus on every minute aspect of movement, from the hands and the feet to the size of jumps. “He not only started a company; he changed the whole look of ballet,” says Gloria Govrin, artistic director of Eastern Connecticut Ballet. “It was more than just technique that he taught. It’s everything together that made the dancer,” Suki Schorer, senior faculty member of the School of American Ballet, explains. “The classroom was where he went to see how far he could make his dancers go,” Balanchine coach and stager Merrill Ashley notes. “He was our artistic father,” Edward Villella, founding artistic director of Miami City Ballet, says, pointing out how important it was for everyone to try to please him.

Hochman also speaks extensively with Balanchine-method coach and mentor Heather Watts and Jacques d’Amboise, the founder and president of National Dance Institute, who passed away in May at the age of eighty-six. (Sadly, twenty of Hochman’s subjects are no longer with us.) Photographs and film clips of all of the above show them dancing for the NYCB, interacting with Balanchine, and keeping his legacy alive by teaching such dancers as Tiler Peck, Stella Abrera, and Unity Phelan of NYCB, Calvin Royal III of ABT, and other professionals as well as young kids. “I think as teachers we have an obligation to share with the younger generation the way that he advocated, but it’s become the problem,” Ashley says. “We’re not Balanchine.”

There’s terrific, though grainy, black-and-white footage (and some later color) from such classic Balanchine ballets as Apollo, Prodigal Son, Serenade, Symphony in C, Orpheus, Agon, Jewels, and Stravinsky Violin Concerto while Hochman also explores Balanchine’s early years: He was born in St. Petersburg, Russia, in 1904, started dancing when he was nine, was hired as a choreographer by Serge Diaghilev for the Ballets Russes, was brought to American by Lincoln Kirstein, who cofounded the NYCB with Balanchine and helped fund the construction of the company’s home at the New York State Theater at Lincoln Center, and developed a fruitful working relationship with composer Igor Stravinsky. Balanchine is heard in numerous audio clips unearthed by Hochman. “I don’t accept the way it looks and it’s very difficult to discuss why,” he says. “I can’t say what inspires, if you use that high-class word, ‘inspiration.’ It’s your past, where you were born, what you’ve done in your life.”

All of the interview subjects agree that Balanchine could be extremely hard on his dancers, but he also gave them a freedom, appreciating them as individuals. They are also afraid of what might become of his ballets in the future, but Balanchine’s legacy seems safe in their capable hands. Film Forum will host three in-person Q&As opening weekend, with Hochman and Ashley on September 17 at 6:30 and September 19 at 5:20 and with Hochman and Villella on September 18 at 6:30. The 2021–22 NYCB season opens September 21 and will include Balanchine’s Serenade, Symphony in C, Western Symphony, Agon, La Valse, and The Nutcracker.

CURTAIN UP! FESTIVAL

A bevy of Broadway stars will celebrate reopening at free three-day outdoor fest

Who: Norm Lewis, Michael Urie, Brian Stokes Mitchell, Daphne Rubin Vega, James Monroe Iglehart, Joe Iconis, Ayodele Casel, Joshua Henry, Jelani Alladin, Lauren Molina, Bryce Pinkham, Antoinette Nwandu, Lynn Nottage, A. J. Holmes, many more
What: Three-day festival celebrating the reopening of Broadway
Where: Duffy Square, Playbill Piano Bar in Times Square
When: September 17-19, free
Why: Dozens of performers, writers, directors, choreographers, podcast hosts, and others are coming to Broadway for a free outdoor three-day celebration of the reopening of the Great White Way. Playbill, in partnership with the Broadway League and the Times Square Alliance, are presenting “Curtain Up!” September 17-19, featuring live performances, panel discussions, singalongs, interviews, and more in Duffy Square and at the Playbill Piano Bar. Among the impressive list of participants are Norm Lewis, Michael Urie, Brian Stokes Mitchell, Ayodele Casel, Robin DeJesús, Daphne Rubin Vega, James Monroe Iglehart, Joe Iconis, Joshua Henry, Jelani Alladin, Bryce Pinkham, Antoinette Nwandu, Lynn Nottage, and A. J. Holmes. All events are free, but be prepared for big crowds.

Friday, September 17
Wake Up, Broadway!, with Joe Iconis, Ilana Levine, and Sam Maher, hosted by Ayanna Prescod and Christian Lewis, Playbill Piano Bar, 11:00 am

Curtain Up! Festival Kick-off Event, with Chuck Schumer, Anne Del Castillo, Alex Birsh, Charlotte St. Martin, Tom Harris, Vikki Been, Brian Stokes Mitchell, and Jessica Vosk, with music direction by John McDaniel, Duffy Square, noon

Divas of Broadway Sing-Along, with Brandon James Gwinn, Playbill Piano Bar, 1:00

Dear White People Panel, with Kandi Burruss, Ashley Blaine Featherson, Logan Browning, DeRon Horton, and Bryan Terrell Clark, Duffy Square, 1:30

New Broadway Hits, with Brandon James Gwinn, Playbill Piano Bar, 2:30

Sing Along with Joe Iconis, with Joe Iconis, Amina Faye, Jason SweetTooth Williams, Kelly McIntire, and Mike Rosengarten, Playbill Piano Bar, 3:00

The Playbill Variety Show, with Bryan Campione, Joshua Henry, Tom Viola, Frank DiLella, Joseph Benincasa, and T.3., Duffy Square, 3:30

Wicked Sing-Along, with Adam Laird, Playbill Piano Bar, 4:30

Jimmy Awards Reunion Concert!, with Bryson Battle, John Clay III, Sofia Deler, Caitlin Finnie, Elena Holder, Lily Kaufmann, McKenzie Kurtz, Sam Primack, Josh Strobl, and Ekele Ukegbu, directed by Seth Sklar-Heyn, with music direction by Daryl Waters, hosted by Jelani Alladin, Duffy Square, 5:30

Curtain Up After Dark Presents: Lauren Molina, Playbill Piano Bar, 6:30

Pass Over playwright Antoinette Chinonye Nwandu is part of “Curtain Up!” Broadway reopening festival (photo by Marc J. Franklin)

Saturday, September 18
The Broadway Morning Warm-Up, with James T. Lane, Jessica Lee Goldyn, Tyler Hanes, Chryssie Whitehead, and Alexis Carra, Duffy Square, 10:30

Wake Up, Broadway!, with Kaila Mullady, Anthony Veneziale, Tarik Davis, James Monroe Iglehart, and Jan Friedlander Svendsen, hosted by Ayanna Prescod and Christian Lewis, Playbill Piano Bar, 11:30

Black to Broadway — It’s “Play” Time!, with Harriette Cole, Kennan Scott III, Antoinette Nwandu, Lynn Nottage, and Douglas Lyons, Duffy Square, 12:15

The Golden Age of Broadway Sing-Along, with Logan Culwell-Block, Playbill Piano Bar, 2:00

Sing-Along with Rob Rokicki, Playbill Piano Bar, 2:30

The Playbill Variety Show, with Bryan Campione, Bryce Pinkham, Shereen Pimentel, Lauren Gaston, Austin Sora, Valerie Lau-Kee, Minami Yusui, Jose Llana, Lourds Lane, and Ted Arthur, Duffy Square, 3:00

A. J. Holmes: Live in Times Square, Playbill Piano Bar, 4:00

Musical Theatre Hits Sing-a-Long with Concord Theatricals, with Michael Riedel and Zachary Orts, Playbill Piano Bar, 4:30

¡Viva Broadway! When We See Ourselves, with Bianca Marroquín, Ayodele Casel, Janet Dacal, Robin DeJesús, Alma Cuervo, Linedy Genao, Nicholas Edwards, Eliseo Roman, Daphne Rubin Vega, Josh Segarra, Caesar Samayoa, Jennifer Sánchez, Henry Gainza, Claudia Mulet, David Baida, Florencia Cuenca, Marielys Molina, Natalie Caruncho, Angelica Beliard, Sarita Colon, Gabriel Reyes, Roman Cruz, Steven Orrego Upegui, Adriel Flete, Noah Paneto, Harolyn Lantigua, Valeria Solmonoff & Iakov Shonsky, Luis Miranda, Rick Miramontez, Emilia Sosa, and Sergio Trujillo, directed and choreographed by Luis Salgado, written by Eric Ulloa, with musical direction by Jaime Lozano, Duffy Square, 5:00

Curtain Up After Dark, with Lauren Molina, Nick Cearley, and Eric Shorey, Playbill Piano Bar, 6:30

Sunday, September 19
Wake Up, Broadway!, hosted by Ayanna Prescod and Christian Lewis, with Off Book: The Black Theatre Podcast!, with Kim Exum, Ngozi Anyanwu, and Drew Shade, Playbill Piano Bar, 9:00

Curtain Up: This Is Broadway! Finale Concert, with performances by stars of more than twenty current and upcoming Broadway shows, Duffy Square, 11:00

TICKET ALERT: THE NEW YORKER FESTIVAL 2021

Jessica Chastain and Oscar Isaac will talk about their new HBO series at New Yorker Festival

Who: Jessica Chastain, Oscar Isaac, Dave Grohl, Aimee Mann, Stanley Tucci, Jelani Cobb, Siddhartha Mukherjee, Jonathan Franzen, Tara Westover, Liza Donnelly, Roz Chast, Viet Thanh Nguyen, Jane Goodall, Andy Borowitz, Beanie Feldstein, Jayne Houdyshell, Richard Jenkins, more
What: Hybrid New Yorker Festival
Where: Skyline Drive-In, 1 Oak St. in Brooklyn, and online
When: October 4-10, free – $180, virtual all-access pass $59
Why: Tickets for the in-person outdoor events at this year’s New Yorker Festival go on sale September 14 at noon, along with the specially curated culinary meals, which will be delivered to your door (as long as you live in New York City). Among those appearing live at the Skyline Drive-In on the Brooklyn waterfront are Aimee Mann and Dave Grohl (separately), who will talk and sing, as well as Jessica Chastain and Oscar Isaac, who will discuss their new HBO series, Scenes from a Marriage, and Beanie Feldstein, Jayne Houdyshell, and Richard Jenkins, who will screen and discuss their new film, Stephen Karam’s The Humans, an adaptation of his hit play. The virtual programs, featuring Jane Goodall, Stanley Tucci, Emily Ratajkowski, Amy Schumer, Jonathan Franzen, Tara Westover, Roz Chast, and others, will be available September 20, including an all-access pass for $59. As always, you can expect tickets to go fast, especially for the free events and the food deliveries. Below is the full schedule.

Monday, October 4
Dining In with the New Yorker Festival: Yellow Rose, three-course vegan menu delivered, with on-demand access to Helen Rosner’s interview with the chefs, Dave and Krystiana Rizo, $50

Tuesday, October 5
Dining In with the New Yorker Festival: Dacha 46, three-course vegetarian meal delivered, with on-demand access to Helen Rosner’s interview with the chefs, Jessica and Trina Quinn, $50

Wednesday, October 6
Dining In with the New Yorker Festival: Reverence, three-course vegetarian meal delivered, with on-demand access to Helen Rosner’s interview with the chef, Russell Jackson, $50

Thursday, October 7
Dining In with the New Yorker Festival: Kimika, three-course meal delivered, with on-demand access to Helen Rosner’s interview with the chef, Christine Lau, $50

Friday, October 8
Jessica Chastain, Oscar Isaac, and Hagai Levi talk with Esther Perel about Scenes from a Marriage, free, 6:30

Dave Grohl talks with Kelefa Sanneh about his upcoming memoir and performs, $90-$180, 9:00

Saturday, October 9
Aimee Mann talks with Atul Gawande and performs, $60-$120, 6:30

Drive-In: The Humans, preview screening of Stephen Karam’s debut film, followed by a conversation with Karam, Beanie Feldstein, Jayne Houdyshell, and Richard Jenkins, moderated by Michael Schulman, $25-$50, 9:00

Liza Donnelly, Roz Chast, Liana Finck, and Amy Hwang will celebrate the history of women cartoonists at the New Yorker at virtual event (illustration by Liana Finck)

Virtual Events, available September 20

Jane Goodall talks with Andy Borowitz

The Matter of Black Lives, with Chimamanda Ngozi Adichie, Charlayne Hunter-Gault, and Jamaica Kincaid, moderated by Jelani Cobb

Stanley Tucci talks with Helen Rosner about his TV series and his new book, Taste: My Life Through Food

Politics and the Novel, with Yiyun Li, Valeria Luiselli, and Viet Thanh Nguyen, moderated by Parul Sehgal

Emily Ratajkowski and Amy Schumer talk with Michael Schulman

Globalism’s Legacy, with Esther Duflo, Siddhartha Mukherjee, and Anne-Marie Slaughter, moderated by Evan Osnos

Jonathan Franzen and Tara Westover talk with Henry Finder

Some Very Funny Ladies, with Liza Donnelly, Roz Chast, Liana Finck, and Amy Hwang, celebrating the history of women cartoonists at the New Yorker, moderated by Emma Allen, free

Rachel Cusk and Patricia Lockwood talk with Deborah Treisman

How to Accelerate Climate Action, with Katharine Hayhoe, Bill Ulfelder, and Allegra Kirkland, free

NYFF59: THE FIFTY-NINTH NEW YORK FILM FESTIVAL

Denzel Washington and Frances McDormand star in Joel Coen’s NYFF59 opener, The Tragedy of Macbeth

FIFTY-NINTH NEW YORK FILM FESTIVAL
Film Society of Lincoln Center
Walter Reade Theater, Howard Gilman Theater, Francesca Beale Theater, Alice Tully Hall, Damrosch Park, and other venues
September 24 – October 10, $17-$25
www.filmlinc.org/nyff2021

For its fifty-ninth year, the New York Film Festival, running September 24 through October 10, returns in person, primarily at five venues at Lincoln Center but also with a handful of satellite screenings at Anthology Film Archives downtown, BAM Cinemas in Fort Greene, the Maysles Documentary Center in Harlem, and the Jacob Burns Film Center in Pleasantville.

The opening-night selection is the hotly anticipated The Tragedy of Macbeth, Joel Coen’s Shakespeare adaptation starring Denzel Washington and Frances McDormand as the ambitious couple seeking power at all costs. Jane Campion’s The Power of the Dog, a neo-Western based on a cult novel by Thomas Savage and with Kirsten Dunst, Jesse Plemons, and Benedict Cumberbatch, is the centerpiece choice. The closing-night selection is festival favorite Pedro Almodóvar’s Parallel Mothers, in which two women, played by Penélope Cruz and Milena Smit, meet in a maternity ward in a story about pain and trauma.

The main slate features a wide range of works from international directors; among the highlights are Mia Hansen-Løve’s Bergman Island, which takes place on Fårö, where Ingmar Bergman lived and worked; Gaspar Noé’s tender Vortex; Futura, an Italian omnibus by Pietro Marcello, Francesco Munzi, and Alice Rohrwacher; Paul Verhoeven’s Benedetta, about a real-life seventeenth-century nun; Radu Jude’s Golden Bear winner Bad Luck Banging or Loony Porn; Ryûsuke Hamaguchi’s Drive My Car, inspired by a Haruki Murakami short story; Rebecca Hall’s Passing, an adaptation of Nella Larsen’s 1929 Harlem Renaissance novel; Céline Sciamma’s Petite Maman, in which an eight-year-old girl deals with loss; Saul Williams and Anisia Uzeyman’s sci-fi punk musical Neptune Frost; and Hit the Road, the debut of Panah Panahi, son of fest fave Jafar Pahanhi.

Fans of Lou Reed can check out Todd Haynes’s new documentary, The Velvet Underground, about the revolutionary band, as well as Songs for Drella, Ed Lachman’s 1990 concert film of Reed and John Cale’s song cycle for Andy Warhol. Apichatpong Weerasethakul is back at the festival with Memoria, starring Tilda Swinton as an ex-pat botanist, and the short film Night Colonies, part of Currents Program 7: New Sensations. And unstoppable South Korean auteur Hong Sangsoo has a pair of Main Slate films, In Front of Your Face and Introduction.

Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song is part of NYFF59 Revivals

Among the other works in the Currents section, focusing on socially relevant fiction and nonfiction films, are Wang Qiong’s All About My Sisters, Denis Côté’s Social Hygiene, Shengze Zhu’s A River Runs, Turns, Erases, Replaces, and Claire Simon’s I Want to Talk About Duras. Revivals include Joan Micklin Silver’s Hester Street, Lynne Ramsay’s Ratcatcher, Melvin Van Peebles’s Sweet Sweetback’s Baadasssss Song, Miklós Jancsó’s The Round-Up, Mira Nair’s Mississippi Masala, Wendell B. Harris Jr.’s Sundance winner Chameleon Street, Jack Hazan and David Mingay’s Rude Boy starring the Clash, and Christine Choy’s Who Killed Vincent Chin?

Denis Villeneuve’s Dune leads the Spotlight section, along with Marco Bellocchio’s Marx Can Wait, Maggie Gyllenhaal’s directorial debut The Lost Daughter, Wes Anderson’s The French Dispatch, and Mike Mills’s C’mon C’mon, with Joaquin Phoenix. And finally, NYFF59 pays tribute to the centenary of cofounder Amos Vogel’s birth with a seven-program Spotlight sidebar consisting of cutting-edge, avant-garde, experimental shorts and features Vogel brought to Cinema 16 from 1947 to 1963 and the New York Film Festival between 1963 and 1968.

NATIONAL ARTS CLUB HAPPENINGS: RICH LITTLE

Rich Little will shares his impressions of his life and career in free National Arts Club talk

Who: Rich Little
What: Livestreamed conversation
Where: National Arts Club online
When: Wednesday, September 15, free with RSVP, 6:00
Why: “How did I become an impersonator? Perhaps my mother was conceived by a Xerox machine!” Rich Little writes in his 2016 book, People I’ve Known and Been: Little by Little. In conjunction with the rerelease of the book and the November premiere of his new autobiographical one-man show, Rich Little Live, at the Laugh Factory at the Tropicana in Las Vegas, the Canadian-born comedian, who became a US citizen in 2010, will discuss his life and career in a livestreamed National Arts Club discussion on September 15 at 6:00. Little will talk about his many impressions, which famously include presidents (John F. Kennedy, Lyndon Johnson, Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, Bill Clinton, both George Bushes, and Barack Obama), movie stars (Jimmy Stewart, Jack Lemmon, John Wayne, Humphrey Bogart, Arnold Schwarzenegger, Sylvester Stallone, Jack Nicholson, and Clint Eastwood), and pop-culture figures (George Burns, Paul Lynde, Kermit the Frog, Andy Rooney, and Dr. Phil); go behind the scenes of his recent off-Broadway debut playing Nixon in Trial on the Potomac: The Impeachment of Richard Nixon at Theatre at St. Clements; and share show business anecdotes. Admission is free with advance RSVP.

GREGG BORDOWITZ: I WANNA BE WELL / BENYAMIN ZEV’S SUCCOS SPECTACULAR!

Gregg Bordowitz, Pestsäule (after Erwin Thorn), mixed media, 2021 (photo by twi-ny/mdr)

GREGG BORDOWITZ: I WANNA BE WELL
MoMA PS1
22-25 Jackson Ave., Queens
Virtual performance lectures September 17-19, free with advance RSVP
Exhibition continues Thursday – Monday through October 11, $5-$10 (free for NYC residents)
www.moma.org
www.greggbordowitz.com

At the heart of the MoMA PS1 exhibition “Gregg Bordowitz: I Wanna Be Well” are two disparate images. On your way into the building itself and in the gallery, you will see a large banner declaring, “The AIDS Crisis Is Still Beginning.” Meanwhile, at the top of Bordowitz’s 2021 mixed-media sculpture Pestsäule (after Erwin Thorn), inspired by a seventeenth-century plague monument in Vienna as well as the murder of George Floyd, the AIDS epidemic, and the Covid-19 pandemic, is a blank protest sign, raised up by a man in a medical mask surrounded by a maelstrom of bodies, a murderous cherub, and sandbags on the floor, like a warped scene from Les Miz. “Hey Johnny, what are you rebelling against?” Mildred (Peggy Maley) asks Johnny (Marlon Brando) in the 1954 film The Wild One. “Whadda you got?” Johnny replies.

Born in Brooklyn in 1964 and raised in Queens — home base for the Ramones, whose 1977 song “I Wanna Be Well” from the Rocket to Russia album gives the exhibit its name — Bordowitz, who has been living with HIV/AIDS for more than three decades, was an early member of ACT UP (AIDS Coalition to Unleash Power), which was founded in 1987. He has been documenting his own life and the global AIDS crisis through film and video, poetry, sculpture, lectures, and poetry, much of which is on view at MoMA PS1 through October 11. His 2014 twenty-four-part poem Debris Fields lines the walls of the galleries, amid such works as self-portraits in mirror, Tom McKitterick’s black-and-white photographs of Bordowitz and others at AIDS protests in the late 1980s, the corner wall drawing and sculpture installation Kaisergruft (centered by the word Sympathy), and Drive, a repurposed vintage derby car stickered with Big Pharma logos.

The show also features several of Bordowitz’s films, including the 1993 autobiographical documentary Fast Trip, Long Drop, which deals with his contracting HIV, coming out to his parents, a friend getting breast cancer, and the tragic deaths of his grandparents; the 2001 documentary Habit, about the AIDS epidemic in South Africa; the five-minute The Fast That I Want video he made last year with Morgan Bassichis for his family’s virtual Yom Kippur; and the vastly entertaining Only Idiots Smile, a 2017 lecture commissioned for the New Museum presentation “Trigger: Gender as a Tool and a Weapon” and that, at only twenty-two minutes, is far too short as Bordowitz discusses his relationship with his father, Judaism, Eastern European men kissing on the lips, and homophobia.

You can see much more of Bordowitz this week when MoMA hosts several special events held in conjunction with “I Wanna Be Well.” On September 13 (and available on demand through September 27, for members only), “Modern Mondays: An Evening with Gregg Bordowitz and Jean Carlomusto” consists of a live discussion between the longtime friends, artists, collaborators, and activists, along with videos they made in the late 1980s for the Gay Men’s Health Crisis in New York City. From September 14 to 28, MoMA Film will stream Bordowitz’s 1996 reimagination of Nicolai Erdman’s 1932 long-banned play The Suicide, also for members only.

From September 17 to 19, Benyamin Zev’s Succos Spectacular! comprises a trio of livestreamed performances, free with advance RSVP, specifically taking place after Rosh Hashanah (the Jewish New Year), the ten Days of Awe (meditation and reflection), and Yom Kippur (the Day of Atonement) and before Sukkot (the Harvest Festival and the Feast of Tabernacles). The three shows — “The Rock Star” on Friday at 7:00, “The Rabbi” on Saturday at 7:00, and “The Comedian” on Sunday at 4:00 — feature Bordowitz as his alter ego, Benyamin Zev (his Hebrew name), a Jewish entertainer, stand-up comic, and tummler, hanging out in a Sukkah, joined by special guests and the klezmer ensemble Isle of Klezbos. “Any laughter is purely accidental,” Bordowitz says on the MoMA website. “My performances disturb, upset, and resist the pressures to conform and align genders and ethnicities within a fascist phantasy of American nationalism.” And finally, on October 2 at 5:00, in person and online, Bordowitz will launch his new book from Triple Canopy, Some Styles of Masculinity, at the Artbook @ MoMA PS1 Bookstore, where he will speak with poet, professor, and cultural theorist Fred Moten.