A high quality dance company that doesn't take itself too seriously, but takes the art seriously. We try and package our performances so that there's something for everybody, that will make you laugh, make you think, and will create some sort of emotional response.
I say I'm a dancer, or a physical theater person, or doing performing arts. It gives them a very general framework. Even if I say dancer, they immediately think ballet dancer or contemporary modern dancer.
Salma is not a character in a traditional sense but an evolving body, a presence that mutates through clothing, gesture, and performance. For this runway, Salma multiplied. Twelve bodies carried the same conceptual DNA, while each looked expressed a different emotional and physical state of the same being.
Photos from the pageant showed Rosengren dressed in a cowboy hat, buttoned shirt, and jeans, holding a sign that read, 'It's feeding time on the farm. Cowboy Tommy is feeding the six piglets & bull.'
"It's bizarre to watch people in this way - even in gay cruising areas you wouldn't stare at other bodies this intensely. Now, whenever I go to a concert, especially at the Berliner Philharmonie with its encircling seating, my gaze hovers over the audience as well as the stage."
Gabrielle Goliath will independently present three new suites of her performance project Elegy, which mourns victims of Israel's genocide in Gaza, during the forthcoming 61st Venice Biennale after her eponymous proposal for the South African Pavilion was notoriously axed.
Using a similar, bespoke screen recording just for Nicer Tuesdays, Liang-Jung breaks down each part of the project, from every penny spent to the vlogs that inspired their self-surveillance as performance art.
In one hour of drag, clown, and desperation, Señor Babyhead presents his Día de Muertos Especial. It's a journey across the Sonoran Desert in which Babyhead encounters artifacts, mirages, and spirits. Who is Señor Babyhead? Only Mexico's most (washed up) famous sitcom star, desperate to stay relevant and avoid becoming an artifact, himself.
"Beyond the Gallop" is a project that sheds light on an activity that exists at the intersection of sport, art, and community. Originating in Finland, hobby horsing has grown rapidly in recent years, particularly among young women. However, despite its popularity, participants are often misunderstood, with some facing ridicule and social stigma.
mennell's work smears the personal and political across their body. The Thames performance is the finale of a project called (para)site, made in response to revelations of sewage discharge in our waterways and a reaction to the way benefit claimants are labelled a drain on society. OK, mennell thought, I'm going to be the parasite.
Raw Material: The Art and Life of Susan Kleckner, on view at Haverford College's Cantor Fitzgerald Gallery through April 5, 2026, is the first comprehensive retrospective of the pioneering feminist artist, filmmaker, photographer, and performance artist. Bringing together nearly 100 works, many never before publicly exhibited, the exhibition seeks to reposition Kleckner as a foundational figure in feminist, queer, and activist art histories.
A repeated gesture is a way of making something gigantic. When Art Production Fund approached her to imagine a work for the three-acre turf field at the Santa Monica airport during Frieze, her mind went to performance. To activate the synthetic green space, she realised she needed to create something that engaged both the physical conditions of the site and the temporary context of the fair.
It's his sort-of coming out story imbued with the trauma of losing his mother Amy to ovarian cancer, told via a 2000-slide PowerPoint presentation and finished off with a genuinely impressive magic trick (Sharp was a childhood magician). On the subject of finishing, it's an abundance of sordid sex tales that fill the gaps between Sharp's god-fearing childhood in America's south, and his mother's crushing death in 2010.
If you want to paint, put your clothes back on! That was how Carolee Schneemann summarised the critical response to her 1975 performance piece Interior Scroll, which she had performed nude standing on a gallery table. After making a series of life model poses, she removed a scroll from her vagina and began to read her manifesto. In doing so, Schneemann asked an important question: What does it mean for a female artist to be both the artist and the life model?
Never to be mistaken for a "smaller" version of its summer cousin, the 2026 Milano Cortina Winter Olympics kicked off with a characteristically bombastic opening ceremony that featured, among other things, bobble-headed representations of Italian composers, a '90s-core DJ spinning on an ice block, supersized golden rings that couldn't help but evoke Sonic the Hedgehog, and an extended Sabrina Impacciatore-anchored sequence that started on a verrrry low note with a seemingly generative-AI-produced animation, and eventually ended on a veerrry high note with Impacciatore doing of a full-on clown routine. The whole spectrum of the human experience, indeed.
The 24-year-old Queens rapper spent the 10 hours before her sixth LP dropped walking on a giant self-propelled wheel on view in a gallery in Lower Manhattan, staring ahead and staying quiet as the record played on a loop. The exhibit streamed live on Twitch; inside the gallery, fellow streamers and a smattering of real fans with signs and bouquets watched, too.
"Within the forum's mission, arts and culture play a vital role: they help ensure that progress is not defined solely by economic metrics or technological advances, but by our capacity to remain human, connected and reflective as we navigate an increasingly complex world," says Joseph Fowler, WEF's head of arts and culture. His programme is anchored around three guiding pillars, "Human Presence in the Digital Age", "Tradition and Innovation", and "Connection and Collaboration", Fowler adds. "Together they form a curatorial vision that pairs intellectual rigour with deeply immersive artistic experience."
Printed in both color and black and white, images of dancers and friends took the form of abstract portraits, movement series, and pseudo-stop-motion, featuring local artists including Sophia Ahmed, Muffie Delgado-Connelly, Kenny Frechette, Takahuro Yamamoto, Emily Jones, Allie Hankins, performances by Lu Yim, and others. Layered, dark, and moody self-portraits of Krafcik from 2025 also plastered a dark-painted wall opposite some of the other images.
