A professional artist for the better part of 20 years, sculptor Yann Normand wanted to do something a little different for his first solo show. Asking me to perform literally anything I want, “fais ce que tu veux, Evelyn” on opening night of “Eternal Love” at the prestigious Galerie Le Royer in Old Montreal, I created a choreography informed by multiple channels.
A spinal cord doubling as a fashion accessory, phones better known as dinkle-binkle-dinkle-bings, a bizarre birthing situation, unlimited gore action featuring red yarn… MöcShplat is daring. MöcShplat is dark. MöcShplat is weird.
NEeMA, born Nadine Neemeh, beams whenever she speaks of Leonard Cohen, her friend and mentor, an instrumental force in the production of her second album ‘Watching You Think’.
On the outside, it seems like performance art reviewers have a plush job. It is when a show is a triumph. But what about when it’s not? With that being said, I could tell you Amaluna is dazzling, electrifying, magical, and exquisite, close the critique with an exclamation point, and ensure my invitation to the next hottest party. Or, I could take the road less traveled and tell you what I saw.
Name drop “George A. Romero” on any given day and anticipate chatter of zombies to follow suit. Yet if you ask the “zombie godfather” his take, he’ll tell you he never set out to have his undead concept infect pop culture so pervasively, if the proliferation of urban zombie walks, zombie video games, and a wildly successful primetime series are any indication that the zombie apocalypse is here to stay.
Visual white noise. Unisex punk dance. Feral female power. Ballet noir. Montreal’s La La La Human Steps, the brainchild of company founder, choreographer, and artistic director Édouard Lock has been called a lot of names since its 1980 inception.