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Cultural Infidels:

Film and Performance for Consenting Adults

3-31 January 1990

Cultural Infidels:
Film and Performance for Consenting Adults 3-31 January 1990

Wednesday, 3 January Beauty #2 and Kiss (films) Andy Warhol Friday, 5 January lonesome Cowboys and Empire (films) Andy Warhol Saturday, 6 January Lonesome Cowboys and Empire (films) Andy Warhol Tuesday, 9 January My Hustler and Sleep (films) Andy Warhol Wednesday, 10 January My Hustler and Sleep (films) Andy Warhol Thursday, 11 January Karen Finley (performance) Friday, 12 January Dick (film) Jo Menell Urinal (film) John Greyson Karen Finley (performance) Saturday, 13 January OWT (music) Karen Finley (performance) Tuesday, 16 January Vinyl and Blow Job (films) Andy Warhol Wednesday, 17 January Vinyl and Blow Job (films) Andy Warhol Thursday, 18 January John Kelly (performance)

Friday, 19 January Looking for Langston (film) Isaac Julien Flaming Creatures (film) Jack Smith John Kelly (performance) Saturday, 20 January Shelley Hirsch & David Weinstein (performance) John Kelly (performance) Tuesday, 23 January Flesh and Eat (films) Andy Warhol Wednesday, 24 January Flesh and Eat (films) Andy Warhol Thursday, 25 January Douglas Dunn (dance) Friday, 26 January Three from Apparatus (films) Guillermo G6mez-Pefta (performance) Saturday, 27 January Kathy Acker (reading) Guillermo G6mez-Pefta (performance) Tuesday, 30 January The Chelsea Girls (film) Andy Warhol Wednesday, 31 January The Chelsea Girls (film) Andy Warhol

Cultural Infidels is supported in part with funds provided by the National Endowment for the Arts. Promotional assistance provided by the Twin Cities Reader.

Andy Warhol Films

Beauty #2 and Kiss 7 and 9:15 pm Wednesday, 3 January Beauty #2 1965, 16 mm-silent, 70 minutes segment screened from the 105 minute original. Directed by Andy Warhol; writer and assistant director: Chuck Wein. Featuring: Edie Sedgwick, Gino Peschio, Gerard Malanga and Chuck Wein. Kiss 1963, 16 mm-silent, 58 minutes, screened 16 frames per second). Directed by Andy Warhol; featuring Naomi Levine, Ed Sanders, Rufus Collins, Gerard Malanga, Baby Jane Holzer, John Palmer, Andrew Meyer, Freddy Herko, Johnny Dodd, Charlotte Gilbertson, Phillip van Renselet, Pierre Restany, Marisol. Vinyl and Blow Job 7 and 9 pm Tuesday and Wednesday, 16 and 17 January Vinyl 1965, 16 mm-sound, 64 minutes. Directed by Andy Warhol; scenario: Ronald Tavel; camera: Bud Wirtschafter. Featuring: Gerard Malanga, Edie Sedgwick, Ondine, Tosh Carillo, Larry Latreille, Jacques Potin, John MacDermott. Blow Job 1963, 16 mm-silent, 35 minutes. Directed by Andy Warhol. Actors unknown.

Flesh and Eat 7 and 9:15pm Tuesday and Wednesday, 23 and 24 January Flesh 1968, 87 minutes, color. Directed by Andy Warhol; featuring Maurice Bardell, Harry Brown, John Christian, Jackie Curtis, Joe Dallesandro, Patti D'Arbanville, Candy Darling, Geri Miller, Geraldine Smith, Louis Waldron Eat , 1963, 16 mm-silent screened at 16 frames per second, 45 minutes. Directed by Andy Warhol; featuring Robert Indiana.

Lonesome Cowboys and Empire 8pm Friday and Saturday, 5 and 6 January Lonesome Cowboys 1967, 16 mm-sound, color, 110 minutes. Directed by Andy Warhol; featuring Taylor Mead, Viva, Louis Waldron, Eric Emerson, Joe Dallesandro, Julian Burroughs, Alan Midgette, Tom Hompertz, Frances Francine. Empire 1964, 16 mm-silent, 48 minute excerpt from the eight hour original, screened at 16 frames per second. Directed by Andy Warhol. Filmed June 25, 1964 from the 44th floor of the TimeLife Building. Arranged by Henry Romney; codirected by John Palmer; cinematography by Jonas Mekas.

The Chelsea Girls 7pm Tuesday and Wednesday, 20 and 31 January The Chelsea Girls 1966, 16 mm-sound, 210 minutes. Directed by Andy Warhol; featuring Angelina "Pepper" Davis, Eric Emerson, Patrick Fleming, Ed Hood, Gerard Malanga, Marie Menken, Mario Montez, Ondine, Brigid Polk, Rene Ricard, Ronna, Ingrid Superstar, International Velvet, Mary Woronov. "With film you just turn on the camera and photograph something. I leave the camera running until it runs out of film because that way I can catch people being themselves. It's better to act naturally than to set up a scene and act like someone else. You get a better picture of people being themselves instead of trying to act like they're themselves." -Andy Warhol All Warhol films will be presented in the Walker Art Center Auditorium.

My Hustler and Sleep 7 and 9:15pm Tuesday and Wednesday, 9 and 10 January My Hustler 1965, 16 mm-sound, 67 minutes. Directed by Chuck Wein; featuring Paul America, Ed Hood, John MacDermott, Genevieve Charbin, Joseph Campbell, Dorothy Dean. Sleep 1963, 16mm-silent, 42 minute excerpt from the six hour original screened at 16 frames per second. Directed by Andy Warhol; featuring John Giorno.

Karen Finley We Keep Our Victims Ready

8pm Thursday, 11 January 10 pm Friday and Saturday, 12 and 13 January Walker Art Center Auditorium

We Keep Our Victims Ready is written, performed, and directed by Karen Finley

Dick and Urinal 8pm Friday, 12 January Walker Art Center Auditorium Dick Directed by Jo Menell 1989, 15 minutes; original score by John Cale. Urinal Directed by John Greyson 1988, 100 minutes; Camera: Adam Swica, Almerinda Travassos; Sound: Marg Moores, Bill Lasovich; Editors: David Mcintosh, John Greyson; Assistant Director: Leena Raudvee; Set Design: Colin Campbell. Cast: Pauline Carey (Frances Loring), Paul Bettis (Sergei Eisenstein), George Spelvin (Langston Hughes), Keltie Creed (Florence Wyle), Olivia Rojas (Frida Kahlo), David Gonzales (Yukio Mishima) Karl Beveridge (Sergeant Smith), Clive Robertson (Inspector Jones), Lance Eng (Dorian Gray)

OWT Zeena Parkins and David Linton

8pm Saturday, 13 January Walker Art Center Auditorium

Zeena Parkins, electric harp David Linton, amplified drum

All compositions are by Zeena Parkins and David Linton. Titles of works in this program will be announced from the stage.
Good as Gold, the debut album by OWT is available on Homestead Records.

John Kelly Born with the Moon in Cancer

Looking for Langston and Flaming Creatures

8pm Thursday, 18 January 10 pm Friday and Saturday 19 and 20 January Ruby's Cabaret

8pm Friday, 19 January Ruby's Cabaret

Looking for Langston Directed by Isaac Julien 1989, 42 minutes. Producer: Nadine MarshEdwards, Director of Photography: Nina Kellgren, Art Direction: Derek Brown, Editor: Robert Hargreaves. Featuring poetry by Essex Hemphill and music by Blackberri. Cast: Ben Ellison (Alex), Matthew Baido (Beauty). John Wilson (Gary), Akim Mogaji (James). Dencil Williams (Marcus), Guy Burgess (Dean), Simon Fogg (Jez), James Dublin (Carlos), Harry Donaldson (leatherboy). Flaming Creatures Directed by Jack Smith 1963, 45 minutes, 16 mm-sound

Born with the Moon in Cancer D'Amor Sull 'Ali Rosee Verdi 0 He's Mild Se Tu M'Ami, Se Sospiri Pergolesi Pigskin Option Habanera Bizet Burning The Candle Stride Ia Vam pa Verdi Death of Dagmar Arabian Dance Tchaikowsky Spring Lake River Joni Mitchell I Have Become Lost to the World lch Bin der Welt Abhanden Gekommen Mahler Here and Now Mon Coeur S'Ouvre a ta Voix Saint-Saens

"It's very interesting being legendary when you can't even make a living and the public's never heard of you." -Jack Smith

Shelley Hirsch and David Weinstein

8pm Saturday, 20 January Ruby's Cabaret Shelley Hirsch, vocals/texts David Weinstein, sampling and keyboards

Klezmart (a song based on Yiddish dance music) Ball and Chain (an urban-ethnic conflagration) Bonbons (a series of miniatures) Power Muzak (celebration and subversion of sentimentality for voice and tape) Self-Interrupting Waltzes (solo keyboards) Haiku Lingo (an eccentric musical travelogue)

Born with the Moon in Cancer begins with a blindfolded young man, born into a world of myriad options. The downward pointed fingers represent the here and now; the cradle pose, his childhood and innocent nature; the angular arms, the adolescent into manhood; and the wings, the option to take flight into the unknown. Born with the Moon in Cancer was premiered in New York at Performance Space 122 in June of 1986. This April, it will travel to Caracus and Bogota. Special thanks to Art Matters, Inc., and Fernando Torm.

Douglas Dunn Haole (1988)

Three from Apparatus

8pm Thursday, 25 January Walker Art Center Auditorium

8pm Friday 26 January Walker Art Center Auditorium

Choreographed and performed by Douglas Dunn

Selections from music composed by Niles Eldrege and lan Tattersall; Brian Eno; Thoinot Arbeau; Claude Debussy; Bob Dylan; Giacomo Puccini; Francesco Cavalli; Captain Tobias Hume; Wolfgang Amadeus Mozart; and Charles Kaipo Mitchell Bogard, lighting design

He Once Was Directed and written by Mary Hestand 1989, 15 minutes, color. Cinematographer: Steve Kazmierski; Production Designer: David Nelson; Original Music: Alan Tubbs; Editor: Barry Elsworth. Cast: Todd Adams (Davey), Sal Barone (Dad), Susan Norman (Sally), Emma Strahs (Mom), Melissa Gardner (Shirley), Todd Haynes (Randy), Julia Haltigan (the Bear); Voices: Cyril Autin, Alan Tubbs, George Wittman, Susan Norman, Melissa Gardner, Rob LaBelle. La Divina Directed by Brooke Dammkoehler 1989, 33 minutes. Screenplay: Maria Rainer von Liliencron; Cinematographer: Jacques Boyreau; Film Editor: Esther Duran. Cast: Michelle Sullivan (La Divina), Christopher Renstrom (The Male Matinee Idol), Valda Drabla (The Cinematic Spectre), Don Damico (The Movie Mogul), Robert Manenti (The Dragon), Nicky Eiseman (Miss Sessions), Nancy Gerstman and Emily Russo (The Glamour Team) The 20th Anniversary Reunion Concert of Big Character Poster Directed by Melissa Cahill and Alvin Eng 1989, 10 minutes. Written by Alvin Eng; Cinematography: Steven Sanderson; Editors: Melissa Cahill and Adrian Truini; Art Direction: Bing Lee, Costumes: Laura Lee; Music: Herman Eng, Mihoko Suzuki and Timothy Cramer. Cast: Ray Wong, Steve Ning, Valorie Lee, Alvin Eng, Ed Chuang (Band), Bing Lee (Teacher), Dawn Saito, Simon Sik (Red Guards), Ed Cahill (Double Chin), Melissa Cahill (poster paster), Lorraine Volz, Willi Hinners (girls at party)

Haole, taken from a Hawaiian word referring to someone who is not Hawaiian, is a series of solos for dancer/choreographer Douglas Dunn. The dance covers a wide range of material from pure movement studies to outrageously humorous character studies, sometimes danced to music, sometimes in silence. In Haole, Dunn dances a deadpan hula, auctions off parts of his body (while speaking in gibberish), and approximates images of bathing beauties and Nijinsky's Spectre de Ia Rose. Dunn's original inspirations for the piece were the romantic, opulent character dances of the early American Dance Pioneers (such as Ruth St. Denis and Ted Shawn). And Haole does include Dunn's own ironic versions of what music visualizations today might be - set to such diverse choices as country western music and an aria by Bach. Dunn also parodies different styles of dance (from classical ballet to creative dance), and yet his characters take us beyond the concerns of the dance world into a larger look at the human condition.

Apparatus, formed by filmmakers Barry Ellsworth (Natural History), Todd Haynes (Superstar: The Karen Carpenter Story), and Christine Vachon (The Way of the Wicked), is a New York-based, non-profit film production company committed to the work of emerging filmmakers.

Guillermo G6mez-Peiia Border Brujo

10 pm Friday and Saturday 26 and 27 January Walker Art Center Auditorium

Border Brujo is a performance artist, but he is also a cultural prisoner, a refugee, a migrant poet, a homeless shaman, and the village fool.

Written, directed, and performed by Guillermo G6mez-Pelia
Border Brujo is a ritual, linguistic, and performative

His performance language has no artifice whatsoever. His sole instruments consist of an alterjacket, a hat, a wig, a table, a ghetto blaster, and a megaphone. There's no backstage magic.
Border Brujo practices the aesthetics of poverty and the culture of recyclement so characteristic of Latin America. Not one performance is ever the same. New texts, props, and voices are constantly integrated into the ongoing process. Border Brujo performs indistinctly inside and outside the artworld. He has appeared in New York (DTW, Museo del Barrio, and BAM), Chicago (Randolph Street Gallery), Boston (Mass. College of Arts), Seattle (COCA and Intimate Theatre), Montreal (Theatre Elysee), San Francisco (Pro Arts, Galeria de Ia Raza, Capp Street Project, and SFS University), Los Nageles (Macondo and Highways), Boulder (Colorado Dance Festival), Miami (The Strand), and England (Birmingham Film and Television Festival). He has performed at youth centers, migrant worker centers, high schools, community events, political rallies, and performance pilgrimages. Border Brujo was awarded the "Prix du Ia Parole" at the International Theatre Festival of the Americas (Montreal 1989) and the Bessie for outstanding achievement (New York City 1989). Border Brujo was filmed by Isaac Artenstein in October 1989. Border Brujo is another strategy to let you know we are here to stay, and we'd better begin developing a pact of mutual cultural understanding.

journey across the U.S.-Mexico border.

Border Brujo first crossed the border in costume in

June of 1988.
Border Brujo unfolds into 15 different personas, each

speaking a different border language. And the relationship between these personas is symbolic of the one between North and South; Anglo and Latin America; myth and social reality; legality and illegality; performance art and life. The structure is disnarrative and modular, like the border experience. It fuses postmodern techniques with popular voices and dialectical forms borrowed from a dozen sources, such as media, tourism, pop culture, Pachuco and pinto slang, and political jargon. These voices are intertwined with metacommentary and epic poetry. The epic tone reflects the epic experience of contemporary Mexican American.
Border Brujo speaks in Spanish to Mexicans, in Spanglish to Chicanos, in English to Anglo Americans, and in tongues to other brujos and border crossers. Only the perfectly bicultural can be in complicity with him. Border Brujo exorcises with the word the demons of the dominant cultures of both countries. Border Brujo articulates fear, desire, trauma,

G6mez-Pena desde le herida infectada.

sublimation, anger, and misplacement.

Border Brujo suffers in his own flesh the pain of his ruptured community. Border Brujo puts a mirror between the two countries and then breaks it in front of the audience. Border Brujo loves and hates his audience; loves and hates himself. Border Brujo creates a sacred space to reflect on the painful relationship between self and other. He dances between self and other. He becomes self and other, with himself. Border Brujo negotiates several artistic traditions,

Kathy Acker
8pm Saturday, 27 January Walker Art Center Auditorium

including performance art, Chicano theatre, ritual theatre, border poetry, and Latin American literature.
Border Brujo is a character, but he is also an alternative chronicler of life in a community.

Tonight's reading will include selections from previous books including Blood and Guts in High School, My Death My Life by Pier Paolo Pasolini, Don Quixote, and her new novel, Empire of the Senseless. A book-signing immediately follows the event in the Center Book Shop.

Cultural Infidels Biographical Notes

Writer Kathy Acker was raised in New York City. Acker, now over forty, is heavily tattooed and a bodybuilder. She studied at Brandeis, at UCSD, and CCNY and was initially trained as a poet. While her fellow college students in the sixties were intent on the "sexual revolution," she tested the meaning of this ideal by performing on 42nd Street, an experience which led to her first published work Politics. Like William Burroughs, who greatly influenced her, Acker has embraced the stance of cultural outlaw not only in her narratives, but has adopted it for her life. Similiar to the motives of artist Sherrie Levine, who creates nearly identical replicas of wellknown art and photography, Acker's novels are profoundly political. Her interest in poetry, language, and theory are obvious; her fiction has been called sensational, experimental, shocking, and brilliant. Acker's narratives, in their subversive appropriations of master text, (everything from Shakespeare and Latin poetry to Beckett and Cervantes) along with their aggressive assertions of criminal perspectives, relentless interrogations of art, culture, government, and sexual relations, are designed to be jaws steadily devouring-often to readers' horror and certainly to their discomfort (which is part of the strategy)-the mindset, if not the mind, of Western culture. Her surfaces are almost anti-literary, despite their allusiveness, deliberately assaultive and overt. She hopes to make the abstract material physical. Kathy Acker currently lives in London, England, where she is a media figure called upon to represent the extreme fringe by which the public measures its distance from the edge. Douglas Dunn danced with Merce Cunningham and Dance Company, 1969-73, with Yvonne Rainer and Group, 1968-70, and with Grand Union, 1970-76. In 1971, he began presenting his own work: solo and group dances, films, and performance exhibits. In 1976, he invited ten dancers to participate in Lazy Madge, a two-year "ongoing choreographic project." Since 1978, Mr. Dunn has maintained a company performing annually in New York City and touring Europe and the United States. Mr. Dunn has been the recipient of grants from the National Endowment for the Arts, the New York State Council on the Arts, the John Simon Guggenheim Memorial Foundation and other sources. He has made dances on commission for Repertory Dance Theatre of Salt Lake City, Ballet Theatre Francais de Nancy, New Dance Ensemble, and twice for the Paris Opera Ballet. One of the Paris Opera Ballet commissions resulted in the full-length Pulcine/la, to a score by Igor Stravinsky. In 1983, the Institute of Contemporary Art in Boston commissioned Mr. Dunn, in collaboration with sculptor Jeffrey Schiff and composer John Driscoll, to present a special "museum event," in which sound, sculpture, performers, and audience intermingled. Also in 1983, Susan Dowling of WGBH in Boston commissioned Secret of the Waterfall, a videodance made in collaboration with videographer Charles Atlas and poets Anne Waldman and Reed Bye. In 1986, Mr, Dunn collaborated with artist David Ireland and composer Alvin Lucier on Dances for Men, Women, and Moving Door, an evening-length work for nine performers. The piece was premiered in New York City at Marymount College, and later invited to the Festival d'Automne in Paris. In the spring of 1989, Mr. Dunn presented Sky Eye at St. Mark's Church in New York City. The eveninglength dance for six, with set and costumes by Mimi Gross, was co-commissioned by Danspace and the Festival d'Automne. Marking Douglas Dunn and Dancers' fourth appearance as part of Festival d'Automne, Sky Eye was presented at the Pompidou Centre in Paris October 1989. Karen Finley received her MFA in performance/video from the San Francisco Art Institute. She travels extensively throughout North America and Europe. Her latest solo piece, We Keep Our Victims Ready, explores societal abuse including rape, alcoholism, children with AIDS, Roe vs. Wade, censorship, and the daily oppression of women. Karen has also kept busy with other projects including The Theory of Total Blame, a play which she wrote, directed, and performs with a cast of six; In Between Lives, a feature film by Joe Gibbons in which she plays an art terrorist; an exhibition of her paintings in San Francisco; a number of recordings, including her album, The Truth Is Hard To Swallow (Pow Wow Art

International) and the 12" dance singles "Tales of Taboo" (Pow Wow), "Lick It" (Pow Wow), "Jump In The River" (with Sinead O'Connor; Chrysalis), "Drop That Ghetto Blaster" (with Mr. Big Mouse; Nettwerk); and a new compilation from Giorno Poetry Systems that includes Karen, due out this month. Future projects include a film collaboration with San Franciscobased artist Tony Labat, a book of her writings, more exhibitions of her paintings, and tours of Australia, Scandinavia, and England.
John Greyson is a Toronto-based artist whose 15 tapes and films include The AIDS Epidemic, and Moscow Does Not Believe in Queers. He recently co-curated (with Bill Horrigan) the home video compilation "Video Against AIDS." John Greyson currently teaches at CaiArts.

Since 1986, Shelley Hirsch and David Weinstein have co-composed and performed a number of works, including Power Muzak, Haiku Lingo, and numerous songs and smaller works. Their collaboration has generated extraordinary possibilities for vocal and orchestral settings in a variety of styles and genres. Together, they performed at the New Music America Festival in Miami and have toured widely throughout Europe. Excerpts from their works have appeared on MTV and HBO. Their work will be included on an upcoming electronic compilation disk, Imaginary Landscapes, released by Nonesuch.
Shelley Hirsch is a vocalist-composerperformer whose music incorporates extended techniques, real and imaginary language, diverse international styles, stream of consciousness, characterization, improvisation, movement, and decor. She has presented her music across the United States, Canada, and Europe. She has written and performed a number of staged theatrical works, including The Beach Is Her Home, All-Well Used Plumbing, Occidental Dreams of a Giesha, and Celebration of the Obvious, which was commissioned by the State Opera of Stuttgart. Hirsch performs in a number of bands and ensembles, including Odd Job with Nes Rothenberg, Samm Bennett, and David Weinstein; XCommunication, a multi-national improvising octet; and the vocal project Direct Sound, founded by David Moss. She has collaborated with many distinguished musicians as an improvisor, and in written works by artists such as John Zorn, Christian Marclay, Butch Morris, and Richard Teitelbaum. Hirsch has released records of her own work: Shelley Hirsch Singing with percussionists Samm Bennett and David Simons on Apollo Records, Room With a View with John Rose on Hot Records, and the new Haiku Lingo with David Weinstein on Review Records. She also appears on John Zorn's Big Gundown, Jim Stanley's Mumbo Jumbo, Elliott Sharp's Land of the Yahoos, and other recordings. Hirsch has received a number of grants, awards, and residencies for her compositions, and she is currently working on a major commission for a theatrical piece, which will be presented at Dance Theater Workshop in New York in May 1990.

Born and raised in Mexico City, interdisciplinary artist and writer Guillermo G6mez-Peiia came to the U.S. for the first time in 1978. He lives and works in the border region of San Diego and Tijuana, which he uses as an artistic laboratory and source of inspiration. Since the mid 70s, he has been involved with the use of multiple mediums: performance, audio art, book art, experimental bi-lingual texts, journalism, video, and multimedia altars. He is co-editor of the bi-lingual arts magazine The Broken Line/La Linea Quebrada; a founding member of the Border Arts Workshop (BAW-TAFO; an associate of Post-Arte, the network of Latin American conceptual artists and poets; a writer for newspapers and magazines in Mexico, the U.S., and Spain; a regular contributor to the national radio program "Crossroads"; and a collaborator on two award-winning films. His performance work focuses on U.S.-Mexico relations and border issues, and has been presented extensively throughout the U.S. and Europe. G6mez-Pena has participated in the First, Second, and Third "Bienal lnternacional de Poesio Concreta y Arte Experimental" (Mexico City), the exhibition "The Demons of Los Angeles" (France and Spain) and the recent "1989 Bienal de Ia Havana." G6mez-Pena is currently putting together an anthology of critical writings on border culture and working on a new performance trilogy for 1990.

David Weinstein is a composer and keyboardist who works with electronic instruments, sampling, and digital technology. He studied music with composers Ben Johnston and Salvatore Martirano at the University of Illinois. His recent works include Musical Literature of the State, a series of subversive orchestrations of national anthems; SelfInterrupting Waltzes for multiple keyboards; and Assassins in Paradise for computerdriven electronic instruments, in addition to his works with Hirsch. He performs frequently with John Zorn in group projects such as Cobra and Naked City, and appears on a number of Zorn disks, including Spillane and The Big Gundown. Since 1979, Weinstein has been a director of Roulette in New York, which presents concerts of new, innovative music.

Jo Menell is an independent documentary filmmaker. A former BBC current affairs producer and Director General of Chilean Television under Allende, Menells previous work was the critically acclaimed Haiti Dreams of Democracy (co-directed with Jonathan Demme) that premiered at Walker in 1987.

OWT is the duo of drummer David Linton (Carbon, Scanners, Midi Drum Evil) and electric harpist Zeena Parkins (Skeleton Crew, No Safety). David and Zeena are well known in the international new music community, both for their solo records and collaborations with others, but OWT represents the first recorded work they've done as a duo.
Zeena Parkins is a composer/improvisor multi-instrumentalist (acoustic and electric harps, keyboards, and accordion) and performer. She was a member of Skeleton Crew (with Fred Frith and Tom Cola), is founding member of the New York City quintet No Safety, and is also a member of Fred Frith's Keep The Dog and Elliot Sharp's Carbon. She continues her ongoing collaboration with percussionist lkue Mori as well as performing a variety of improvisation and dance concerts in the U.S. and Europe. Parkins has worked with many other prominent musicians including Chris Cochrane, John Zorn, Pauline Oliveros, Butch Morris, Bobby Previte, Linsay Cooper, Ann Rupel, and George Cartwright. Parkins has been commissioned to construct dance scores for choroegraphers Jennifer Monson, John Jasperse, Ishmael Houston-Jones, Yvonne Meier, Cydney Wilkes, Sally Silvers, and Stephen Petronio. Parkins was a founding member of The Janus Circus, with which she performed for five years. For one year she also performed as a member of Laura Dean Dancers and Musicians. David Linton is a drummer (a.k.a. percussionist/composer). He has been making music based in New York since 1979. Over the years, he has worked and/or collaborated with a broad range of New York City artists including Rhys Chatham, Robert Longo, Eric Bogosian, Karole Armitage, Jeffrey Lohn, Glenn Branca, Lee Ranaldo, Christian Marclay, Kinematic, Fred Holland, Shaliko Co., Stephen Petronio, David Parsons, Dancenoise, Elliot Sharp, Charles Atlas, Rudolph Grey, and most recently, Zeena

Isaac Julien is a founding member of Britians Sankofa Film and Video Collective. His previous work includes Who Killed Colin Roach, and Territories and The Passion of Remembrance (co-directed with Maureen Blackwood) both of which were screened at Walker in 1988. Looking For Langston has been featured at the Berlin, Telluride, Chicago, and New York film festivals. Julien is currently at work on a new feature, Young Soul Rebel.
John Kelly has been creating solo and group multi-media performance works for eight years. The works have been premiered in New York, and subsequently performed in Minneapolis, Charleston, Aspen, San Francisco, Toronto, Montreal, Hamburg, Berlin, Munich, Rome, Reggio Emilia, Vienna, and Tokyo. Mr. Kelly studied ballet at the American Ballet Theatre School and Harkness House, and performed in the companies of Charles Weidman, Jan Wodynski, Martha Clarke, John Jesurun, Ishmael Houston-Jones, and Ellen Stewart. He currently studies voice with Peter Elkus. Film and video credits include works by Charles Atlas, Tom Rubnitz, and Adrian Piper.

Mr. Kelly has received numerous awards including a 1987 Obie award, a 1986 and a 1988 Bessie award (New York dance and performance), a 1987 American Choreographer Award, and a 1989 Guggenheim Fellowship.

Parkins, in addition to extensive performing as a soloist. Along with former Live Skull drummer James Lo and Yuval Gabay, David is a member of Midi Drum Evil. He has performed and recorded with Elliot Sharp's Carbon, and along with Sharp and Eno sideman Percy Jones, is a member of the New York City trio Scanners (heard most recently on the A & M Record Live at the Knitting Factory, Vol. 7 compilation). Last year, Linton gave solo concerts at Musica 88 in Strassbourg, France, and New Music America '88 in Miami. David is presently working on a commission for Madrid-based choreographer Antonio Andreu, and his second solo LP is scheduled for release in 1990 from Germany's Dossier Records.
Jack Smith was born circa 1933 in Columbus, Ohio. After studying dance with Ruth St. Denis and direction with Lee Strasberg in the early 1950s, Smith quickly became the pioneering legend of New York's film and performance scene. His work on screen and stage has influenced two generations of artists including Richard Foreman, Robert Wilson, and Karen Finley. Flaming Creatures became an immediate cause celebre when it premiered in 1963, defended by such luminaries as Jonas Mekas and Susan Sontag and remains one of the most talked about films of the decade. Rarely seen even during its heyday, Flaming Creatures has long been unavailable. This special screening was made possible through the generosity of Enno Patalas and Munich Film Archive.

More than any of his contemporaries, Andy Warhol came to personify not only the American Pop Art movement of the 1960s but also the social, political, and artistic changes marking the period. Born in 1928 in Pittsburgh, Warhol received commercial art school training that served as the starting point for a career that included painting, printmaking, assemblage, still photography, book and magazine publication, filmmaking, and television production. But perhaps his greatest creation was himself-the archetypal cool observer of the cultural chaos that seemed to surround him and us in 1960s America. His death in February 1987 initiated the process of documenting and assessing Warhol's rich and varied output-including the restoration and rerelease of the 60-odd films he made in the mid1960s at his celebrated midtown-Manhattan loft, The Factory.

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