There's something powerful that happens when students step onto a stage and the entire community shows up for them. Events like this bring families, staff, and students together in a way that builds pride, connection, and a real sense of belonging.
"We're constantly striving to strike a balance between work that respects academic rules of composition, established visual codes and good readability, with something more spontaneous, adventurous, playful, even naive."
Lachlan Turczan's practice sits in the space between physics, optics, and environmental art, as he works with lasers, water, mist, and custom-built lenses to produce sculptures made entirely from light.
"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."
Butterfly unfolds across four unique versions of the same song, each exploring different genres and emotional depths while maintaining a cohesive melody and lyrics.
Adam Linder's Acid Gems is like a classical ballet that's been plugged into a neon socket. The Australian choreographer was apparently inspired by Balanchine's famous Jewels, itself a dance reflection of the sparkle of a jeweller's display window, put through Balanchine's rigorous neo-classical filter.
All this to say that Alexander Whitley can harness the technology that so fascinates him, and equally importantly, that he fully understands, to enhance his primary vocation as a dance maker and produce bewitching work. Unfortunately, Mirror, and its companion piece The Rite of Spring, in the brand new double bill currently at Sadler's Wells East, proved major disappointments.
With 'Dance Reflections,' the idea was to give back concretely to another discipline that still gives us a lot. It's the reason why 'Dance Reflections' is a sponsorship program, but also a curatorial program; that's quite rare for a brand to have.
Pornceptual challenges mainstream perceptions of pornography, reframing it as inclusive, artistic, intimate, and respectful rather than exploitative or taboo. Its events, from Berlin to international stages, bring a sex-positive, body-inclusive ethos to nightlife. Strict consent practices, no-photo policies, and spaces designed for authentic self-expression create a rare kind of freedom - one that allows visitors to explore identity, desire, and intimacy without judgment.
On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.
We've been exploring what nightlife looks like in London outside of the traditional nightclubs, and here comes the Barbican with a brand-new late-night party series. The 'anyone can dance' events will be a celebration of diaspora, community and joy, with the Level -1 foyer space turning into a dancefloor open until 3am. The series is kicking off on Fri 20th February with a night curated by Eastern Margins, a collective that celebrates alternative East and South East Asian creativity and culture.
The work behind "Waiting for You" by Monotronic spanned two years and several geographic mindsets. Its songs were built in the contained spaces of an East Village apartment and the open humidity of Tulum, initially seeming like disparate projects with no clear direction. Only in retrospect did their shared disposition come into focus. This is an album about the slow work of self-knowledge, which here looks less like an epiphany and more like the gradual acceptance of a particular signal,
Dominique McDougal and Carro Sharkey's three-part performance, 'Did4luv'-a tragicomic dance solo performed by each of the dancers, alternating every night-debuted this month at the dual 30th anniversary of Sophiensaele's inauguration as a theater and its renowned dance festival, Tanztage. This year's Tanztage invites its audience to consider the (im)material conditions of artistic production: the body and self as sources for capitalist exchange, the extractive nature of our systems of work and its resulting consequences for marginalized bodies.
