![]() ![]() The idea arose when Ragnar was asked to create a performance for a music festival in Wisconsin organised by the Dessner twins and Bon Iver. They are Aron and Bryce Dessner, of American band The National, and Gyða and Kristín Anna Valtýsdóttir, formerly of Icelandic band múm fame. As she sees it, the piece is:īased around two sets of twins. With titles like Take Me Here by the Dishwasher, Memorial for a Marriage, Sounds of Despair, S candinavian Pain and Satan Is Real, you might not expect Kjartansson to be described by the interviewer as “welcoming, cheerful, and effervescent.” Like Beckett, Kjartansson is a detached, existential humorist.Įinarsdóttir’s description of Death Is Elsewhere is thorough, going beyond other synopses, including The Met’s signage. More recently, Gréta Sigríður Einarsdóttir, the editor of Iceland Review, penned an updated, engaging interview with Kjartansson in conjunction with the premiere of Death Is Elsewhere at The Metropolitan Museum of Art. ![]() In a 2016 New Yorker profile, titled “Play It Again: How Ragnar Kjartansson Turns Repetition into Art,“ Calvin Tomkins documents Kjartansson’s rise from art student to advertising agency employee, from rock musician to prominence as a performance and installation artist. Kjartansson’s résumé is long, and his career is well documented. Even as it often appears stationary or static, even amid the famous Beckettian pauses, images dominate, move, flow, become other, not representing a world that we already know, but perpetually creating new worlds. It is a theatre of perpetual movement or flow, all comings and goings, a pulse that creates affect. It lets you engage with art in a very matter of fact way.īeckett’s theatre is always a theatre of becoming, a decomposition moving toward recomposition, itself decomposing. 28.) This notion is liberating in many respects. As my mother says, ‘Let’s not destroy a good story with the truth.’” (Tompkins, p. They think (or ask) some genuinely important, often fundamental questions, “What am I seeing? What am I experiencing? What does this mean?” Kjartansson himself has said, “I don’t believe in the truth of art. ![]() Like That Records (Marvelito, Ase Manual, Hellotones)īoiler Room Festival is made possible thanks to our partners, each with their own values in music: Absolut-the spirit of openness, Ballantine's-spotlighting collective power, Beefeater-celebrating contrast and Jameson-amplifying connections.Both Beckett’s and Kjartansson’s works can cause unease for viewers, who sit, stand and sometimes squirm during seemingly monotonous performances. Stay tuned for the full lineup drop on these.Įlsewhere, Boiler Room’s film platform 4:3 collaborates with Rhizome – the not-for-profit arts organization that supports and provides a platform for new media art founded in New York in 1996 – to present a special one-off video installation. Meanwhile in room two, art collective Papi Juice and meme activists Patia’s Fantasy World present a roster of artists, musicians and DJs from their spheres. ![]() Inside at night, the main room lines up a heady mix of emerging and established artists – including legends Ron Trent and Analog Soul alongside risers like Yasmine, Yung Neil, Bizzy Banks, and Polo Perks each broadcast live and uncut to the world. The musically-diverse programme kicks off with two open-air live performances from critical rappers Dizzy Fae and Mick Jenkins, followed by a stacked lineup curated by Half Moon-the city's most upfront radio station and hub-taking us through till sunset. Keep an eye on the RA page for tickets being resold.Ī day-to-night takeover, Boiler Room Festival NYC will feature the city’s most vital artists, DJs and collectives–as well as special guest live performances and video installations. ![]()
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