Village Voice 04.19.2017 : Page 52

52 April 19 April 25, 2017 JAIME N. CHRISTLEY At 8, the Town Hall, 123 West 43rd Street, Manhattan, 212997 1003,, $55–$85 VILLAGE Salomé Lamas April 20 The New School screening series “Kinoscope” hosts a handful of shorts by Salomé Lamas, the Portuguese ilmmaker best known for El Dorado XXI (2016), an Hosoda Eisui’s Wakashu With a Shoulder Drum , from the late-18th/early-19th century TANNER TAFELSKI At 4, Anthology Film Archives, 32 Second Avenue, Manhattan,, free Courtesy of the Royal Ontario Museum, ©ROMROM2015 Dani Leventhal April 22–23 Dani Leventhal’s freely associative videos suggest a weird personal cosmology of affects, textures, and incidental goings-on, in-ducing in the viewer an un-settled state of constant flux where death and birth, sex and boredom, are never fully extricable from one another. Images and stories arise and evaporate almost before they’re registered, but their observational viv-idness and sticky eroticism — a cat foaming at the mouth, an oil ield ejaculat-ing ire — linger on. Platonic (2013) plays with various kinds of proximity and distance: travelogue fragments; rich extreme close-ups of fur, hair, bark, LEO GOLDSMITH At 6 and 8:30 on Saturday, 3 on Sunday, Whitney Museum of American Art, 99 Gansevoort Street, Manhattan, 212570-3600,, free–$12 Actors perform the classic Harrison Ford–Sean Connery movie onstage for a live crowd, with a drinking-game component: The audience gets a list of buzzwords and phrases; when one comes up, a bell rings, and everybody (ac-tors included) drinks. You’ll be ine if you remember to drink in moderation and re-frain from calling anybody “Junior.” MARY BAKIJA At 7:30, Littleield, 622 DeGraw Street, Brooklyn,, $10 FOOD & DRINK A Drinking Game NYC: Indiana Jones and the Last Crusade April 20 Even if you’ve seen the third installment of the Indiana Jones series a hundred times, this version will sur-prise you — or, if nothing else, at least get you tipsy. Queens International Night Market: Sneak Preview #1 April 22 As a child, John Wang would visit open-air mar-kets in his family’s native Taiwan; later in life, he came to see Queens as the perfect location to re-create these multifarious food paradises. From this vision sprung the Queens Night Market, which is about to embark on its third year of Saturday-night eating ex-travaganzas in the parking lot of the New York Hall of Science. In the past, open-ing nights have been frus-tratingly crowded, so this time around, the market will host a pair of “sneak previews” at the start of its season, selling a limited number of $5 tickets to help control the flow of foot traf ic. Food-wise, expect offerings that reflect the borough’s international population, from Ecuador-ian ceviche to Ukrainian borscht to Burmese noodles to Nigerian jollof rice. There will also be live music — a cappella, Afrobeat, and more — and half the ticket proceeds will go to three lo-CRITIC ’ S PICK Through June 11 ART BREACH THE DIVIDE Japan Society’s “A Third Gender: Beautiful Youth in Japanese Print” is the first North American exhibit to focus on depictions of wakashu , or adolescent males considered to be at the peak of their beauty, during the Edo period (c. 1603–1867), when Neo-Confucian humanist and rationalist ideals emerged in Japan. Dozens of masterfully crafted wood-block prints made in that era narrate these youths’ sexual and romantic relationships with both men and women. Donning kimo-nos and long hair and striking demure pos-tures, wakashu distinguished themselves in society with a small shaved spot on the crown of their heads. Discernible in some prints and barely distinct in others, this char-acteristic hairdo separated the group from men and women, until the tops of their heads were completely shaved upon enter-ing manhood. The fluid, nonbinary concep-tion of gender roles that we may think has only recently found a voice was, centuries before, already part of a tradition in Japan — until Westernization policies began to dic-tate a stricter division of gender roles. OSMAN CAN YEREBAKAN Japan Society, 333 East 47th Street, Manhattan, 212 832 1155,, free–$12 A FASCINATING EXHIBIT PROBES THE FLUIDITY OF GENDER ROLES IN EDOPERIOD JAPAN Chairlift play their inal show, at Brooklyn Steel, this week. Tim Barker Courtesy Queens International Night Market Town Hall will show Beauty and the Beast with a live score by the Philip Glass Ensemble and an introduc-tion by Glass and ilm-maker Errol Morris. experimental ethnographic documentary about a mining town in the Andes Mountains. But the shorts in this program (dubbed “At the Edge of Landscape”) showcase her playful and terse interventions in geog-raphy. Diverse in formal approach yet cohesive in subject matter, the works include: a haunting ac-count of a man walking on treetops in Tower (2015); aquatic explorations in Theatrum Orbis Terrarum (2013); and endurance tests undertaken by Lamas in the Azores in Encounters with Landscape (3x) (2012), which plays like a high-arthouse version of Jackass . One of these shorts is not like the other, and that is Le Boudin (2014), a spare, stripped-down piece that alternates between a young German actor reciting the words of a former French legionnaire and a black screen over which the legionnaire himself can be heard, speaking in a slow, broken voice. and grass; a sequence from the 1978 animated feature version of Watership Down , re ilmed off a TV screen. Its title gestures toward a phil-osophical notion of the ideal, but Leventhal’s im-ages, in all their irresoluble funkiness, thwart this at ev-ery turn. With Hard as Opal (2015), a collaboration with Jared Buckhiester, Leven-thal ventures into narrative mode with a loosely analogous tale of arti icial insemination and animal husbandry. Fractured and fleeting, the piece conveys an interest in storytelling that runs through much of Leventhal’s work, while still maintaining her usual pre-occupations with the horses and humans, ire and fluids. Lobster fare at the Queens Night Market

Previous Page  Next Page

Publication List
Using a screen reader? Click Here