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Justin Allen

Frequency, an improvisational performance by Justin Allen and collaborators, intersects percussive and rhythmic instruments and dance styles to produce, respond to, and interact with vibration. Using base shakers, the cast will build on the pulsation of techno music.
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Dion TYGAPAW McKenzie

For their first commissioned work as a 2022 ISSUE Artist-In-Residence, producer, DJ, and artist Dion TYGAPAW McKenzie presents the first part of Devil Woman (Obeah Woman), an opera in three parts. Using Techno as their main genre of focus, the work urges us to renegotiate and expand our understanding of the genre.
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Takahiro Yamamoto

What does it mean to acknowledge spaces that we could easily dismiss? Are there possibilities for the unity of the self and the other? How do we peel off protective layers as social beings in order to revisit our core selves? How could we unlearn together?
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Justin Cabrillos

as of it takes place across and between a disassembled dance club. Transforming The Chocolate Factory’s large industrial space into a delirious meditation room and spiritual mosh pit, as of it offers a hallucinatory glimpse of the dancer, the wallflower, the meditator, and the concertgoer all in the same room. In tandem with James Lo’s propulsive sound design, the dancers follow their fantasies to find ways to arrive and arrive again.
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Jon Kinzel

This new work is part of a series – Atlantic Terminus (2016) at The Invisible Dog, and, Pacific Terminus (2019) at Telematic Media Arts – wherein the construction of installation-like environments through durational performances entails a combination of movement, mark-making, and material manipulation, to orchestrate somatic social encounters.
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Donna Uchizono

Wings of Iron is an evening-length work that examines what it takes to remain humane in these charged times. Investigating the “weight in-between,” the work provides a forum in which to share the weight of vulnerability that is simultaneously public and private.
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Laurie Berg

The chameleon’s eyes move independently of one another, offering an almost 360 view of its surroundings. Even when both eyes focus on the same object, they do so independently, making the chameleon’s vision a naturally occurring diptych. This remarkable ocular duet is the basis for Berg’s new work FOMO:DIPTYCH. A densely layered performance installation to study the diptych: as a form, a way of viewing, listening, feeling, and consuming. A place where missing something is guaranteed (and ok).
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First Annual Gala!

The Chocolate Factory's First Annual Gala! Featuring the Artist In Industry Award, Honoring: Lucy Sexton (Executive Director, New Yorkers For Culture & Arts), Yoko Shioya (Artistic Director, Japan Society) and Donovan Richards, Jr. (Queens Borough President).
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Abigail Levine

Redactions is an ambivalent autobiography, a chorus of psyches, a year-long look out the window. It has holes for other voices. Redactions wants to listen to the music of the world but keeps getting interrupted by sirens. Layered on a gestural movement language— sculptural, psychological, and intimate—are bits of narrative about sex in an airplane bathroom, Fred Moten’s take on abstraction, live-streamed uprisings and insurrections, hand washing, and the evening stars converging in winter.
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Larissa Velez-Jackson

The Star Pû Method is a dance-theater technique and a corresponding theater work created by Larissa Velez-Jackson in 2012, originally known as the Star Crap Method. It is a technique in which a small ensemble of dancers improvises a work together—replete with song, text, movement, sculptural elements and digital sound—by peeling away all of the layers of the moment of performance.