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

SMITHSONIAN LECTURE BY SETH DAVID RADWELL — AMERICAN SCHISM: HEALING A DIVIDED NATION

Seth David Radwell discusses American Schism with Tucker Carlson

AMERICAN SCHISM: HEALING A DIVIDED NATION
Smithsonian Associates lecture
Monday, September 13, $25, 6:45
www.si.edu
americanschismbook.com

During the pandemic, I had a regular Zoom happy hour with a group of longtime friends going back to nursery school and grade school. Our politics were all similar, so we avoided fights about Trump, Fauci, the Supreme Court et al. One of our regulars was Seth David Radwell, who, following a successful business career that has included being the head of e-Scholastic and Bookspan and president and CEO of direct-to-consumer company Guthy-Renker, was so disturbed by the state of political discourse across the nation that he wrote a book about it.

American Schism: How the Two Enlightenments Hold the Secret to Healing Our Nation (Greenleaf, June 29, $25.95) examines our current partisan situation, and inability to talk to one another about virtually anything without it becoming political, through the lens of the two Enlightenments of the eighteenth century, the Radical and the Moderate. Radwell is on a furious book tour, making appearances on numerous podcasts and online interview shows. On September 13 at 6:45, he will deliver a lecture, “American Schism: Healing a Divided Nation,” as part of the Smithsonian Associates streaming series.

Radwell writes in the prologue of his book, “As I hunkered down at home to weather the global COVID-19 pandemic of 2020, I struggled to overcome the sense of shock at how suddenly and utterly our world had been turned upside down. But as I contemplated my state of mind, oscillating rapidly between depression, anxiety, and frustration, I sensed that well before the onslaught of the pandemic I had already fallen into a profound state of disillusionment. As the world came to a halt, the health crisis simply gave me the time and space to realize it. The root cause of this disillusionment was related to the shattering of an ideal image that I had, perhaps, clung on to for far too long.”

He continues, “How had it come to be that over the last four years my entire conception of the American credo had crumbled? My vision of America was firmly rooted in the ethos of both freedom and equality; my America was a place where everyone had a fair shot at building a rewarding and fulfilling life, where each individual could define their own idiosyncratic version of success, and where we collectively formed a country of shared values with mutual respect for individual differences. That vision felt unambiguously inconsistent with the America of 2020. Just how and when did my America disappear? Did my vision of America ever exist at all, or was it but a myth? If it did exist, how did it disintegrate so quickly in just a few years? Or was its ruin a slow process of decay that began undetected (by me) much earlier? I was determined to explore these questions, to understand the origins of my disillusionment.”

Radwell not only searches out the causes but provides answers for how we can move forward together. One of his themes is getting the two Americas to talk to each other in a reasonable manner. He brought this plan into reality recently when he sat down for a long-form interview on Tucker Carlson Today, for which some of his readers chastised him. “I received an onslaught of feedback related to my appearance on Tucker Carlson Daily on Fox Nation and the clip shown on his evening cable show,” he wrote in an email blast to his subscribers. “Some chided me for appearing on Fox since the station has a ‘track record of misinformation and propaganda masquerading as news,’ as one person wrote me. Others congratulated me for having the ‘courage’ to appear on such a venue.” The divide is everywhere.

Amid a flurry of interviews and his preparation for the Smithsonian lecture, Radwell took the time to answer questions about the Counter-Enlightenment, reason and unreason, top-down populism, Tucker Carlson, fine wine, and more.

twi-ny: You’ve been working on the book for several years; what effect did the pandemic lockdown have on your research and writing?

seth david radwell: It’s been about three years, although I had developed some of the ideas before that. I have been reading and researching the thesis actively starting in late 2018. I had much material in the form of notes up through 2019. But it was March 2020 when COVID first hit that I sat down and began writing every day in intense twelve-hour sessions. Since that time I have been working on it full-time.

twi-ny: In addition to discussing the two Enlightenments, you also delve into the Counter-Enlightenment, tracing it to the Second Great Awakening, the religious fervor of the first decades of the nineteenth century, as well as anti-elite and anti-intellectual sentiments. Would you characterize the American right’s embrace of Hungarian dictator Viktor Orbán, or Tucker Carlson’s recent encomium to the Taliban, as an expression of top-down populism (populist sentiments exploited by elite actors for their own ends), the Counter-Enlightenment, or something more ominous?

sdr: There is certainly a global trend toward autocracy characterized by “strongmen” who win some sort of election to gain legitimacy but then consolidate, usurp and abuse power, and begin curtailing the freedoms associated with an open liberal society. The American right has embraced this. One of the tools that most of these autocrats deploy, along with those associated with Trumpism, is the top-down populism described in the book.

At the same time, as I discuss in the book, populism is complex — there are many strains of it, often with both positive and negative characteristics. The top-down populism we are talking about here is an emotional appeal that plays on people’s fears of both the “other” (immigrants, African Americans, Latinos, etc.) as well as the elite establishment (who they perceive has ignored their concerns for too long). Autocratic politicians are hostile to elite institutions, and to expertise in general, and pronounce these feelings regularly to gain support and relate to their base. Because this later trend rejects expertise overall, it is also hostile to truth and data. That is the Counter-Enlightenment.

twi-ny: In the current political climate, do you have a recommendation for accommodating both Counter-Enlightenment forces as well as the Radical and Moderate Enlightenment thinkers, or must one be decisively excluded from power?

sdr: “Counter-Enlightenment forces” can be a confusing phrase. For example, most religious movements are based in faith and rely less on reason. So these are Counter-Enlightenment forces that are very much involved in the lives of most Americans. But our republic was founded on the premise that these domains should be kept outside the civic arena — with a firm separation of church from state. This has been frequently violated in our history — as one example, Billy Graham was quite close and influential to many presidents.

twi-ny: In researching and writing the book, did you reconsider a specific political belief you have held?

sdr: Yes, I had always considered myself fairly left leaning, but I began to appreciate aspects of conservative/libertarian philosophy more thoroughly.

twi-ny: How did your business experience help you when marketing the book?

sdr: Well, there is no question that my marketing expertise has played a role. But most ventures I led professionally (i.e., Proactiv) were multimillion-dollar brands with huge advertising budgets. My marketing of the book has been mostly guerrilla tactics and “hand selling” that I am doing personally as a labor of love.

twi-ny: As part of that hand selling, you’ve been interviewed on many podcasts, in lieu of in-person readings and signings. Were you a podcast listener prior to the pandemic? If so, what are some of your favorites?

sdr: Yes, I love podcasts, mostly of the NPR variety — I was a religious listener to Ezra Klein on VOX Media.

twi-ny: You recently appeared on Tucker Carlson Today and managed to have a productive and engaging discussion. What was that experience like?

sdr: He was extremely generous, thoughtful, and open to the ideas in the book. Quite a different persona than his cable “news” show at night.

twi-ny: Did meeting him in that way change any feelings you previously might have had about him?

sdr: He is very intelligent and deeply appreciative of the ideas in American Schism. His on-air celebrity status is an entirely different matter.

twi-ny: On September 13 at 6:45, you will be delivering the Smithsonian lecture “American Schism: Healing a Divided Nation.” What will you be concentrating on?

sdr: The session will summarize certain aspects of the book but will focus on the path forward out of this mess, delineating both structural changes and mindset changes that can begin the healing process.

twi-ny: Is America in as much trouble as it seems?

sdr: The fundamental change begins with taking back control of the debate from the extremes to the frustrated majority.

twi-ny: American Schism has been a great success, reaching #1 on Amazon. What were your initial goals in writing the book?

sdr: It has been doing well, but remember it has gone to #1 on Amazon in very niche categories, like rational philosophy and civics. In the broader areas such as comparative politics and political parties, it has often been a top-ten bestseller.

twi-ny: What’s your next step?

sdr: I would like to build a ground-up movement, which I call Fight Unreason with Reason, by sharing the ideas in the book with a larger audience. So I am hopeful the book will gain more momentum in the months forward. But we are off to a good start. My biggest hope is the viral marketing element — that readers who appreciate the ideas share them. For example, of the seventy-five reviews on Amazon, sixty-nine are five-star, so most readers like the book so far.

twi-ny: You’re a gourmand and wine connoisseur with a partner who knows his way around the kitchen. What is the latest amazing meal the two of you have had at home, and what wine did you have to go with it?

sdr: I am very lucky to have such an excellent cook as a partner. Tonight he is preparing roasted Cornish hens with braised vegetables. I will open a Grand Cru burgundy to pair, but I haven’t picked it yet.

twi-ny: You are also a big-time theater and opera fan. Have you been to any live indoor performances yet?

sdr: I have not yet been back to performances, with the exception of Tony Bennett and Lady Gaga at Radio City. I love opera and theater and I miss both terribly. But the positive is that without them, I have had more time to focus on the book.

IN REMEMBRANCE OF 9/11: TWENTY YEARS

Eiko Otake returns to Belvedere Plaza in Battery Park City for twentieth anniversary of 9/11 (photo by William Johnston)

EIKO OTAKE: SLOW TURN
Belvedere Plaza, Battery Park City
Saturday, September 11, free with advance RSVP, 7:00 am & 6:00 pm
lmcc.net
www.eikootake.org

In 2000, Eiko & Koma were artists in residence on the ninety-second floor of the World Trade Center, in the North Tower. In July 2002, they presented Offering: A Ritual of Mourning in six city parks, starting at the Belvedere in Battery Park City, just west of where the towers stood. The meditation on loss ultimately toured the world. On September 11, Eiko Otake, who has been performing solo for several years, returns to the Belvedere for Slow Turn, consisting of movement, a monologue of personal memories of 9/11, and music by clarinetist and composer David Krakauer. Presented in partnership with NYU Skirball, the Battery Park City Authority, and the Lower Manhattan Cultural Council, Slow Turn takes place at 7:00 am, as the sun reaches the plaza, and again at 6:00 pm, as the sun sets over the Hudson River. Admission is free with advance RSVP.

BUGLISI DANCE THEATER: TABLE OF SILENCE PROJECT 9/11
Josie Robertson Plaza, Lincoln Center
65th St. between Broadway & Amsterdam Ave.
Friday, September 11, free, 8:00 am
www.tableofsilence.org
www.lincolncenter.org

Every September 11, there are many memorial programs held all over the city, paying tribute to those who were lost on that tragic day while also honoring New York’s endless resiliency. One of the most powerful is Buglisi Dance Theatre’s “Table of Silence Project,” a multicultural public performance ritual for peace, inaugurated in 2011, that annually features more than one hundred dancers on Josie Robertson Plaza at Lincoln Center. Because of the coronavirus crisis, it has been reimagined for the twentieth anniversary of the 9/11 attacks, as part of Lincoln Center’s “Restart Stages” programming. The event will begin with artistic director Jacqulyn Buglisi’s 2001 piece Requiem, her response to 9/11, with costume designer Elena Comendador transforming the original ten-foot-long red, gold, and green silk costumes into white and silver, representing ashes, purity, and sacredness.

Thirty-two dancers will gather around the Revson Fountain for Table of Silence Prologue, joined by bell master and principal dancer Terese Capucilli, electric violinist Daniel Bernard Roumain, and spoken-word artist Marc Bamuthi Joseph delivering “Awakening.” The performance will be livestreamed on Facebook and YouTube, and will also include the world premiere of Nel Shelby Productions’ short film Études II and the full 2019 performance of Table of Silence Project 9/11.

Tadej Brdnik will come out of retirement to honor the twentieth anniversary of 9/11 with Battery Dance (photo courtesy Battery Dance)

BATTERY DANCE MEMORIAL
Traffic island bordered by Varick and Franklin Sts. and West Broadway
Saturday, September 11, free, 8:46 am
facebook.com/BatteryDance

On September 11, 2001, shortly after the towers fell, Tadej Brdnik of Tribeca-based Battery Dance performed a solo on the traffic island bordered by Varick and Franklin Sts. and West Broadway, accompanied by four musicians. For the twentieth anniversary of 9/11, Brdnik will come out of retirement, joined on the same location by company members Sarah Housepian, Jill Linkowski, and Vivake Khamsingsavath, who will direct the piece, set to a composition by violinist Yu-Wei Hsiao. There will be no speeches, no fanfare, just a peaceful memorial of movement and music, occurring at the exact moment the first tower was hit on that fateful day. “We welcome passersby, neighbors, and anyone who may feel inspired to join us as a way of marking this tragic, life-changing occasion with the beauty and solemnity of this performance,” Battery Dance founding artistic director Jonathan Hollander said in a statement.

New York City AIDS Memorial Park will honor twentieth anniversary of 9/11 with special gathering

A VILLAGE GATHERING: HONORING AND REMEMBERING 9/11
New York City AIDS Memorial Park
76 Greenwich Ave.
Saturday, September 11, free with advance RSVP, 5:00
villagepreservation.force.com

Art2Action, Greenwich House Music School, Rattlestick Playwrights Theater, and Village Preservation are joining forces on September 11 at 5:00 for a twentieth-anniversary remembrance at New York City AIDS Memorial Park, a safe space where people can participate in sharing stories, singing songs, and expressing themselves in other ways to honor those lost on 9/11 as well as celebrate the resiliency of the city.

FIRE MUSIC: THE STORY OF FREE JAZZ

Sun Ra is one of the free jazz pioneers featured in Fire Music (photo by Baron Wolman / courtesy of Submarine Deluxe)

FIRE MUSIC: THE STORY OF FREE JAZZ (Tom Surgal, 2018)
Film Forum
209 West Houston St.
Opens Friday, September 10
212-727-8110
filmforum.org
www.firemusic.org

College is supposed to be a life-changing, career-defining experience. For me, there were two specific seminal moments, both of which took place in the classroom: discovering avant-garde film in a course taught by New York Film Festival cofounder Amos Vogel, author of Film as a Subversive Art, and being introduced to the free jazz movement, the radical response to bebop, in the History of American Music. Without those two flashpoints, it’s unlikely I would be writing a review of Tom Surgal’s Fire Music: The Story of Free Jazz all these years later.

Opening on September 10 at Film Forum, Fire Music takes a deep dive into free jazz, told with spectacular archival footage and old and new interviews with more than three dozen musicians who were part of the sonic upheaval, with famed jazz writer Gary Giddins adding further insight. Writer-director Surgal, who is also a drummer and percussionist, traces the development of free jazz chronologically, focusing on such groundbreaking figures as saxophonists Ornette Coleman, Eric Dolphy, John Coltrane, Albert Ayler, and Sam Rivers, pianist Cecil Taylor, and keyboardist and synth maestro Sun Ra. “It was terrifying for people,” Giddins says about the original reaction to free jazz, from audiences and musicians. “A lot of people were just, What the hell is this? This isn’t even music.”

There are snippets of live performances by Charlie Parker, Sun Ra Arkestra, Dolphy, Coltrane, Ayler, Max Roach, Don Cherry, Marion Brown, the Art Ensemble of Chicago, M’Boom, the Sam Rivers Trio, Globe Unity Orchestra, and others that set the right mood; this is not swing or bop but something wholly different — and dissonant — that requires an open mind and open ears, but it’s pure magic. “It was like a religion,” pianist Carla Bley remembers. Saxophonist John Tchicai explains, “Each individual could play in his own tempo or create melodies that were independent, in a way, from what the other players were playing. We had to break some boundary to be able to create something new.”

Surgal talks to the musicians about improvising without following standard chord progressions, the four-day October Revolution at the Cellar Café, trumpeter Bill Dixon starting the Jazz Composers’ Guild, pianist Muhal Richard Abrams cofounding the Association for the Advancement of Creative Musicians in Chicago, the formation of the Black Artists Group in St. Louis, the loft scene in New York City, the development of free jazz in New York, Los Angeles, the Midwest, and Europe, and the importance of the 1960 record Free Jazz by the Ornette Coleman Double Quartet, featuring Coleman, Cherry, Scott LaFaro, and Billy Higgins on the left channel and Dolphy, Freddie Hubbard, Charlie Haden, and Ed Blackwell on the right. Sadly, sixteen of the artists in the film have passed away since Surgal started the project; many others seen in clips died at an early age.

For these players, it was more than just fame and fortune; they were constantly called upon to defend free jazz itself. Taylor, who came out of the New England Conservatory, explains, “It seems to me what music is is everything that you do.” Pianist Misha Engelberg admits, “I am a complete fraud.” Meanwhile, Coleman trumpeter Bobby Bradford says of Ayler, “Here’s a saxophone player, man, that we all are thinking, we just broke the sound barrier — wow — and here’s a guy that’s gonna take us to another planet. Is that what we want to do?” As far as outer space is concerned, Sun Ra claims to be from Saturn.

John Coltrane is highlighted as the spiritual father of the free jazz movement (photo by Lee Tanner / courtesy of Submarine Deluxe)

Among the others who chime in are saxophonists Gato Barbieri, John Gilmore, Marshall Allen, Anthony Braxton, Oliver Lake, Noah Howard, Prince Lasha, and Archie Shepp, trombonists Roswell Rudd and George Lewis, trumpeter Wadada Leo Smith, pianists Burton Greene and Dave Burrell, drummers Rashied Ali, Barry Altschul, Thurman Barker, Warren Smith, Han Bennink, and Günter “Baby” Sommer, and vibesmen Karl Berger and Gunter Hampel, each musician unique and cooler than cool as great clips and stories move and groove to their own offbeat, subversive cacophony, brought together in a furious improvisation by editor and cowriter John Northrop, with original music by Lin Culbertson. Producers on the film include such contemporary musicians as Thurston Moore, Nels Cline, and Jeff Tweedy.

Surgal made Fire Music because he felt that the free jazz movement is largely forgotten today; his documentary goes a long way in showing how shortsighted that is. You don’t have to be in college to love this incredible music, and the film itself, which is a crash course in an unforgettable sound like no other.

(Film Forum will host an in-person Q&A with Surgal, Moore, and Smith at the 7:00 show on September 10 and with Surgal, Barker, and jazz writer Clifford Allen at the 7:00 screening on September 11.)

STREB EXTREME ACTION: MANHATTAN WEST / JACOB’S PILLOW

STREB’s August performance at Jacob’s Pillow is streaming for free through September 16 (photos by Christopher Duggan and Jamie Kraus, courtesy of Jacob’s Pillow)

STREB ONSTAGE
Digital on demand from Jacob’s Pillow, September 2-16, free with RSVP
Live at Manhattan West: September 17-19, free with advance RSVP
www.jacobspillow.org
streb.org

In July 2020, STREB Extreme Action shared Best Zoom Dance (with Martha Graham Dance Company) in twi-ny’s Pandemic Awards for Body Grammar, an inventive way to utilize dancers’ body parts to play with ideas of community and movement online, especially for a troupe used to working with unique action machines that often place the performers in physical danger. The Brooklyn-based company, founded in 1985 by Elizabeth Streb, maintained a continuous virtual presence during the lockdown, but you can now catch the troupe in person when they perform five outdoor shows September 17-19 at Manhattan West. (Admission is free with advance RSVP.)

The bill includes Molinette, in which three STREB action heroes have their feet affixed to a twenty-foot-high horizontal swivel pipe designed by Noe España, commissioned for the 2019 reopening of Théâtre du Châtelet in Paris; Add, a 1983 solo piece in which the dancer must stay within a cross taped to the floor; Plateshift, featuring six action heroes on a sprung floor that incorporates centrifugal force; and the world premiere of Kaleidoscope, in which eight action heroes are fastened to LERU (London Eye Rehearsal Unit), a solid steel circle that has them defying gravity, a STREB tradition.

To get in the mood, you must check out STREB’s return to Jacob’s Pillow last month after twenty years, streaming for free through September 16. The show consists of twelve repertory works from 1978 to 2006, performed on the outdoor Henry J. Leir Stage in front of a matinee audience by Jackie Carlson, Daniel Rysak, Tyler DuBoys, Justin Ross, Kairis Daniels, Luciany Germán, Leonardo Girón Torres, and associate artistic director Cassandre Joseph, wearing tight-fitting blue superhero costumes. The technical direction is by company emcee and DJ Zaire Baptiste, who knows how to rile up a crowd.

Molinette will be part of STREB presentation at Manhattan West (photo © Dan Lubbers)

It shows the range of Streb’s choreography and her spirited use of existing and invented objects that often put the action heroes in danger, an astonishing melding of acrobatics, gymnastics, modern dance, and circuslike peril set to original music by technoaxe and compilations produced by Voodo Fé and Freshbeatz. Streb introduces each work with a quote from a review of the piece (from the Village Voice, the Washington Post, the Philadelphia Inquirer, the San Francisco Examiner, and the New York Times) and a snippet about where the idea originated.

It begins with 2006’s Tip, in which seven dancers move precariously on a tipping machine, a twelve-feet-in-diameter wheel cut in half, able to achieve complete verticality. Carlson twirls a wooden dowel like a baton in 1978’s Pole Vaults, Rysak brandishes a rope in 1983’s Whiplash, Carlson, Rysak, Daniels, and Germán toss around a heavy twelve-foot-long, three-inch-wide dowel in 1990’s Log, Daniels is trapped in a box modeled for Streb’s size in 1985’s Little Ease, Germán plays with a hula hoop in 1983’s Target, Joseph and Ross turn a long dowel into a third dancer in 1992’s Link, the troupe pays homage to the Three Stooges and Buster Keaton with a long dowel and a ramp with a cut-out window in 2002’s Buster, and the company does miraculous things with a pair of rectangular doorlike plywood slabs in 1984’s Surface.

There are also two brief pieces with no props, Ross honoring Merce Cunningham in 1978’s 7′ 43″ and DuBoys re-creating Streb’s 1983 solo, Add, which she remembers as being “the most painful two minutes of my life.” The show concludes in a big way with 2003’s breathtaking Air, in which all eight action heroes jump off a trampoline, landing on a large mat over and over again. As with so many of Streb’s works, you can’t help but wait for disaster to occur, but it never does, at least not in the numerous times I’ve been fortunate to see the endlessly brave and talented troupe perform, at such diverse locations as Park Ave. Armory, Gansevoort Plaza, and the World Financial Center as well as in the documentaries Born to Fly: Elizabeth Streb vs. Gravity and One Extraordinary Day. Be sure to stick around for the postshow talk with Streb, Joseph, and Baptiste, moderated by Pillow scholar-in-residence Maura Keefe.

LOUISE BOURGEOIS, FREUD’S DAUGHTER

“Louise Bourgeois, Freud’s Daughter” continues at the Jewish Museum through September 12 (© The Easton Foundation/Licensed by VAGA at Artists Rights Society (ARS), NY. Photo by Ron Amstutz.)

LOUISE BOURGEOIS, FREUD’S DAUGHTER
The Jewish Museum
1109 Fifth Ave. at 92nd St.
Thursday – Monday through September 12, $12-$18 (free on Saturdays)
212-423-3200
thejewishmuseum.org

To paraphrase something Dr. Sigmund Freud most likely never said, sometimes a white marble penis is just a white marble penis. In the exhibition “Louise Bourgeois, Freud’s Daughter,” continuing at the Jewish Museum through September 12, curator Philip Larratt-Smith attempts to explore the French-American artist’s work through a psychoanalytic lens based on her thirty-three years of analysis with Freud disciple Dr. Henry Lowenfeld, beginning in 1952, shortly after the death of her father. The exhibit reverses the standard setup; most of the fifty pieces by Bourgeois are in vitrines, while excerpts from her extensive notes — from personal thoughts to dream diaries — are framed and hanging on the walls. Above the facsimiles and original sheets are dual quotes from Bourgeois and Freud.

“Bourgeois’s psychoanalytic writings profoundly recalibrate our understanding of her artistic trajectory and motivational impulses,” Larratt-Smith, Bourgeois’s literary archivist, said in a statement. “They do not explain or demystify her art but rather represent a freestanding corpus of writing that display her unusual literary gifts and underline her enduring engagement with analysis. They highlight the centrality of her Oedipal deadlock as the traumatic kernel of her psychic organization. And they complicate the narrative of early childhood trauma which the artist herself fostered, encouraging instead a more nuanced appreciation of this relationship which she often spoke about.”

Bourgeois’s writings are extraordinary. “The fear of success is a misconception of the fear of responsibility. Perhaps fear of men. Refusal to accept to grow up / Refusal to accept reality / Refusal to accept what I am / Refusal to accept my lot / Refusal to look at oneself to measure, judge / Refusal to grow up. Refusal to accept being a woman. I accept on my own terms,” one begins. “Guilt is the Product of envy,” she writes in another. “There is essentially no difference between the Penis envy and the Oedipus complex . . . it is not him that I love it is what he has — it is not him that I love it is his money — The only thing that gives me hope is that millions of people women have suffered from this mystery.” And in a screed against her father and the family’s British au pair, Sadie Gordon Richmond, who became her father’s mistress (and was only six years older than Louise), Bourgeois declares, “I can prove that he loves me / that he loves me more than anybody else / that his wife is unbearable / that he doesn’t love her / that I deserve to be loved / that I deserve him more than Sadie does / that Sadie loves me / that Sadie loves him / that Sadie doesn’t want him any longer / so he is free / so there is hope.” You can listen to actress Rachel Weisz reading eighteen of Bourgeois’s selected writings here.

The works on view are equally extraordinary. Couple III entwines two people in fabric and leather, one with a steel prosthetic arm. (“The prosthesis recalls a theme that was important to Louise. Louise saw herself as a survivor but also as radically incomplete,” Larratt-Smith says on the audioguide.) Hysterical is a small sculpture of a nude woman with three heads looking off in different directions. The tomblike Venthouse (Cupping Jar) features two slabs of dark marble, with glass cupping jars on the top one, lit with lights from within, a manifestation of the procedure Louise would perform on her mother to help ease her back pain. (Bourgeois’s mother, Joséphine, died in 1932 when Louise was twenty.) The Destruction of the Father is a large tableaux in a wall, bathed in hellish bloodred lighting, that is essentially the aftermath of a cannibalistic feast, made in 1974, a year after the death of Bourgeois’s husband, Robert Goldwater, at the age of sixty-five. The hanging sculpture Janus Fleuri is a bronze melding of male and female genitalia.

The centerpiece of the show is Passage Dangereux, the largest of Bourgeois’s Cells, a room-size installation that explores memory and desire, with dozens of elements representing sex and death incorporating all five senses, a journey into deep-seated trauma locked behind the bars of a physical and psychological prison. And finally, there’s Sleep II, a 1967 white marble sculpture that strongly resembles the top of an enormous penis, above which hangs Fillette (Sweeter Version), a biomorphic latex-over-plaster depiction of genitalia about which Bourgeois said, “From a sexual point of view I consider the masculine attributes to be extremely delicate. They’re objects that the woman, myself, must protect.” She was famously photographed by Robert Mapplethorpe carrying the sculpture in her right arm, like a treasured pet.

“Life is so funny. Life is so ridiculous,” Bourgeois once said. Throughout her life and career, she revealed a dry sense of humor and had fun with how she was categorized as an artist and a person. “Louise Bourgeois, Freud’s Daughter” delves into the impact decades of psychoanalysis had on her and her art, particularly exposing her writings that emerged from deep inside her soul. But don’t get too caught up in trying to find answers for all her words and images. “Her writings reveal the extent to which Freudian concepts and practices — whether directly or indirectly, whether through his own writings, those of his followers, or Bourgeois’s longstanding analysis — informed and enriched her art making,” Larratt-Smith argues. “To call Bourgeois ‘Freud’s daughter’ is thus to invoke filiation and resistance, likeness and dissent, and to highlight the central importance of psychoanalysis in the making of her mysterious and idiosyncratic oeuvre.” And sometimes a white marble penis is just a white marble penis.

(For more on the exhibit, you can watch the related lectures “Elisabeth Bronfen: Family Entanglements,” “Gary Indiana: The Artist as Writer and Analysand,” and “Jamieson Webster: Louise Bourgeois’s Hysterical Love of Psychoanalysis.”)

MOGUL MOWGLI

Riz Ahmed plays a rapper searching for his identity in Mogul Mowgli

MOGUL MOWGLI (Bassam Tariq, 2020)
Film Forum
209 West Houston St.
Opens Friday, September 3
212-727-8110
filmforum.org

There may be no more riveting, multidimensional actor, rapper, and activist working today than Oscar nominee and Emmy winner Riz Ahmed. Born and raised in London in a British Pakistani family, Ahmed rose to prominence as a suspected murderer in the HBO series The Night Of and made a major breakthrough playing a drummer who suddenly loses his hearing in the Academy Award–nominated Sound of Metal. For more than fifteen years, Ahmed has been releasing music, with his band, Swet Shop Boys (as Riz MC, with Heems), and as a solo act. It all comes together in his latest film, Mogul Mowgli, which opens September 3 at Film Forum.

Ahmed stars in and cowrote the tense drama with Karachi-born American director Bassam Tariq. Ahmed plays Zaheer, a rapper who goes by the name Zed and has just scored a huge gig opening for a popular rapper. But shortly before the tour kicks off, he gets hit with a baffling debilitating illness. With his career in jeopardy, he battles his hardworking religious father, Bashir (Alyy Khan); receives unconditional tenderness from his caring mother, Nasra (Sudha Bhuchar); is criticized by his brother, Bilal (musician, poet, and activist Hussain Manawer); reaches out to an ex-girlfriend, Bina (Aiysha Hart); argues with his friend and manager, Vaseem (Anjana Vasan); and is stupefied by the rising success of fellow rapper RPG (Nabhaan Rizwan), whose silly video “Pussy Fried Chicken” has gone viral.

All the while, Zed is haunted by memories from his childhood and hallucinations of a mysterious figure known as Toba Tek Singh (Jeff Mirza), whose face is covered by a ritual crown of rows of colorful fabric flowers. “People pay attention,” Toba Tek Singh tells him. “They drew a line in the sand. India and Pakistan. East and West. Us and them. I was born from this rupture. And I am the sickness from this separation. I am Toba Tek Singh!” The name refers to a city in Punjab and the title of a short story by Saadat Hasan Manto, about the troubles between India and Pakistan and a “Sikh lunatic” with a “frightening appearance” who “was a harmless fellow.” Ahmed also has a song called “Toba Tek Singh” on his March 2020 album, The Long Goodbye, in which he declares, “She wanna kick me out / but I’m still locked in / What’s my fucking name? / Toba Tek Singh.”

Riz Ahmed is a force to be reckoned with in Bassam Tariq’s debut narrative feature

Named after the Swet Shop Boys’ 2016 song “Half Moghul Half Mowgli,” Mogul Mowgli is a gripping film that deals with various dichotomies as laid out by Toba Tek Singh as Zed tries to find his place in a world that keeps letting him down. “The song’s about being torn between different sides of your identity, being descended from moguls and rich heritage, but living as Mowgli, lost in the urban jungle far away from the village that was once home,” Ahmed says in the film’s production notes. “That’s our experience in diaspora.”

In a concert scene, Zed raps, “Legacies outlive love,” which is at the center of his search for personal meaning, a concept he also explored in his arresting one-man show The Long Goodbye: Online Edition, livestreamed by BAM and the Manchester International Festival last December. (“I don’t belong here,” he says in the piece.) In addition, Ahmed gave a 2017 speech to the House of Commons on the importance of diversity and representation and has written about being typecast as a terrorist and profiled at airports.

Ahmed (Nightcrawler, ) and Tariq (These Birds Walk, Ghosts of Sugar Land), in his debut narrative feature, don’t make room for a lot of laughs in Mogul Mowgli, which passes the five-part Riz Test evaluating Muslim stereotypes in film and on television. It’s a powerful, personal work, made all the more poignant by Ahmed’s semiautobiographical elements and Tariq’s background as a documentary filmmaker. Ahmed is a force to be reckoned with; Anika Summerson’s camera can’t get enough of him, from his dark, penetrating eyes to his shuffling bare feet. Ahmed delivers a monumental performance that avoids clichés as it blazes across the screen. The 6:45 show at Film Forum on September 3 will be followed by a Q&A with Tariq in person and Ahmed on Zoom, moderated by filmmaker, critic, and curator Farihah Zaman; Tariq will also be at the 6:45 show on September 4 (moderated by Oscar nominee Shaka King) and the 4:40 screening on September 5.

ART ALIVE IN THE FISHER DOLLHOUSE

The Chocolate Genius will lead an interactive demonstration at MAD in conjunction with new chocolate bar inspired by Fisher Dollhouse (photo courtesy Museum of Arts & Design)

Who: Paul Joachim, the Chocolate Genius
What: Chocolate-making demonstration and hands-on activity
Where: Museum of Arts & Design, 2 Columbus Circle
When: Saturday, September 4, free with museum admission of $12-$18, noon–2:00
Why: Paul Joachim, the Florida-based artist known as the Chocolate Genius, has a simple but critical mission: “to transform one billion people or more through chocolate.” Joachim believes that “chocolate creates a visceral, personal response in everyone. It’s a bridge between classes, gender, religion, races — all labels of culture. In other words, chocolate creates a deep human connection — often missing in our divisive world.” Joachim will increase that deep human connection on September 4 when he he will lead an in-person, interactive chocolate-making demonstration at the Museum of Arts & Design, launching a new chocolate bar in conjunction with the exhibition “The Fisher Dollhouse: A Venetian Palazzo in Miniature.”

Chocolate demo takes place in Fisher Dollhouse exhibit at MAD (photo by Jenna Bascom)

On view through September 26, the dollhouse was created by New York–based arts patron and collector Joanna Fisher during the pandemic as a place of refuge; it was designed and built by dozens of craftspersons, with miniature works of art by Dustin Yellin, Ryan McGinness, Hunt Slonem, and others. On September 4 at noon, Joachim will show visitors how to make silicone molds, cast edible works, and temper chocolate at home, along with discussing the history of chocolate and cacao. The milk chocolate bars feature the facade of the dollhouse on their front. “When most people think of chocolate, it’s simply a chocolate bar,” Joachim’s mission statement continues. “I have the gift of transforming chocolate into a mystifying, inspirational experience, live and in front of audience’s eyes. Inspiring them with joy, awe, and love, disrupting the status quo, and pushing the boundaries of what is possible within each viewer’s point of view and own life.” Entry to this “Art Alive” presentation is free with museum admission. Also on view at MAD are “Craft Front & Center,” “Carrie Moyer and Sheila Pepe: Tabernacles for Trying Times,” “Beth Lipman: Collective Elegy,” and “45 Stories in Jewelry: 1947 to Now.”