Program Notes
Coming soon!
Read
Article
Ecstasy and Exorcism in Kimberly Bartosik’s I hunger for you (The Brooklyn Rail)
Bartosik talks about how she conceptualized I hunger for you and the need for it in this particular moment in time.
Article
Review: Attraction and Repulsion in ‘Les Vaisseaux’ (The New York Times)
A review of Bartosik’s Étroits sont les Vaisseaux, a prelude to I hunger for you.
Read
Ecstasy and Exorcism in Kimberly Bartosik’s I hunger for you (The Brooklyn Rail)
Bartosik talks about how she conceptualized I hunger for you and the need for it in this particular moment in time.
Article
Review: Attraction and Repulsion in ‘Les Vaisseaux’ (The New York Times)
A review of Bartosik’s Étroits sont les Vaisseaux, a prelude to I hunger for you.
Watch & Listen
Video
I hunger for you (trailer) (Vimeo)
Catch a glimpse of I hunger for you and hear Bartosik speak about the piece.
Video
Étroits sont les Vaisseaux (2016) (Vimeo)
The performance of Étroits sont les Vaisseaux, which laid the foundation for I hunger for you.
I hunger for you (trailer) (Vimeo)
Catch a glimpse of I hunger for you and hear Bartosik speak about the piece.
Video
Étroits sont les Vaisseaux (2016) (Vimeo)
The performance of Étroits sont les Vaisseaux, which laid the foundation for I hunger for you.
Now your turn...
What did you think? Tell us what's on your mind in the comments below and on social media using #ihungerforyou.
© 2018 Brooklyn Academy of Music, Inc. All rights reserved.
© 2018 Brooklyn Academy of Music, Inc. All rights reserved.
Got to see a work in progress version at New York Live Arts last year, and seeing this show yesterday fulfilled on every promise that made. These artists are so fully committed here, special shout out to Joanna Kotze who is always bringing a sparkling intensity to her work. I remember saying how much I loved being somewhat 'inside' the work as the early performance had the audience sitting in between the performers and the loudspeakers - the arrangement at the Fisher worked just as well, especially in the loud, pumping sections. It makes the spectacle confrontational without the audience feeling infringed upon in any way other than for us to make a relative commitment to stay engaged.
ReplyDelete