Issue 12  •  Spring 2013


 Active Image While performing Rhythm 5, 1974, Marina Abramovic leapt into the center of a burning five-pointed star and promptly lost consciousness. Audience members saved her. And, though she was in her twenties, she was home at her parents' house by her ten o'clock curfew. Marina Abramovic: The Artist is Present shows this and other works, centering on the artist's 2010 retrospective at the Museum of Modern Art in New York. The exhibit included filmed performances of some of her earlier pieces, recreations of others—in which younger performance artists, handpicked by Abramovic, took her place—and the artist's newest performance, called, like the retrospective and the film, The Artist is Present.

Girlfriends: Claudia Weill

Written by Lisa Bensing
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In early April, BAM (Brooklyn Academy of Music) hosted a series of films curated by Lena Dunham, the creator of the much-hyped HBO series Girls. Rich, complex, and arguably realistic female relationships characterize most of the selected films. 


Light Asylum: Light Asylum

Written by Adriana Lucci
lightasylumlightasylum.jpgLast fall I was fortunate enough to stumble upon a show at Sarah Lawrence College featuring drum machine/synth master Bruno Coviello. Having just uprooted and moved across state lines, I was hypnotized by the echoing synth that reminded me of being lost at night in a new city that I might one day call home. The next day I was still searching for a guide and realized that Coviello collaborates with percussionist and vocal powerhouse Shannon Funchess in Brooklyn’s romantic goth synthpop duo, Light Asylum.

The Deep Blue Sea: Terence Davies

Written by Angelica Bastién
DeepBlue.jpgThe Deep Blue Sea explores the perverse agony and ecstasy of unrequited love. While the languid pace and narrative structure doesn’t always work, the film is triumphant in regards to the elegant, heart wrenching lead performance of Rachel Weisz as Hester Collyer.

War on Women: Improvised Weapons

Written by Jamie Varriale Vélez
 Active Image War on Women pithily describe their sound as "early Metallica meets Bikini Kill," and identify themselves as a "coed feminist punk band," but the tracks on their Improvised Weapons EP frankly sound more metal than punk. In a different context I might mean this as an insult, but not here. Because unbelievably enough, War on Women subvert metal clichés and make them sound relevant. In so doing, they make the genre feel more friendly to those of us who do not fit the straightwhitedude metal stereotype.

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