Your Week in Culture: Steve Reich, Grizzly Bear and the Bass’s Reopening in Miami

This tour gives Grizzly Bear fans a chance to revisit some of their favorite musical moments of the late 2000s and, with any luck, celebrate a few new ones, too. SIMON VOZICK-LEVINSON

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An image from Ugo Rondinone’s “Vocabulary of Solitude.” Credit Ugo Rondinone

Art: The Bass in Miami Beach

Oct. 29; thebass.org.

After a two-year renovation and a three-week weather delay (though Hurricane Irma luckily didn’t damage the building), Miami Beach’s Bass Museum of Art, newly rebranded as the Bass, reopens on Sunday, Oct. 29 with a pair of mordantly cheery shows: a retrospective for the Swiss-born, New York-based Ugo Rondinone, who creates whimsical sculptures with pointed subtext; and a solo show for the mixed-media artist Pascale Marthine Tayou, who works between Belgium and his native Cameroon.

Mr. Rondinone’s gallery-filling “Vocabulary of Solitude” — which comprises 45 life-size, foam-white clown figures in loud boiler suits and brightly colored ruffs, thinking, sleeping or brooding on the floor — will be complemented by Mr. Tayou’s constellations of wall-mounted alabaster eggs (“Pascale’s eggs”) and tall columns of Arabic pots (“Colonnes Pascale”). WILL HEINRICH

Eiko Otake, A Body in a Station – River To River Festival, June 23, 2015 Video by Lower Manhattan Cultural Council

Dance: Eiko Otake at the Met

Nov. 5, 12, 19; metmuseum.org.

Whether drifting through rush-hour crowds in Manhattan’s Financial District or lying still on the floor of an East Village bookshop, the choreographer and dancer Eiko Otake can transform everyday spaces into eerie sites of ritual.

In 2014, after decades as half of the husband-and-wife duo Eiko and Koma, Ms. Otake branched out on her own with “A Body In Places,” a series of site-specific solos that has taken her around New York City and the world. Vulnerable, alert and exquisitely patient, she treats each place like a partner, sensitive to its pulse.

Beginning Sunday, Nov. 5, the series continues with daylong performances at the Metropolitan Museum of Art’s three locations. First up is the Met Cloisters, followed by the Met Breuer (Nov. 12) and the main branch on Fifth Avenue (Nov. 19). It’s not easy to match the grandeur and history of these landmarks, but if anyone can, it’s Eiko. SIOBHAN BURKE

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A scene from “H Is for Hawk: A New Chapter,” presented by “Nature” on Wednesday, Nov. 1, on PBS. Credit Mike Birkhead Associates, via WNET

TV: ‘H Is for Hawk’ Sequel on PBS

Nov. 1; pbs.org.

A decade ago, not long after her father died unexpectedly, Helen Macdonald — the historian, illustrator, poet and falconer — retreated to an English cottage to train a ferocious goshawk she named Mabel, recounting her experiences in “H Is for Hawk,” her prizewinning 2014 memoir.

Now Ms. Macdonald is taking on what she calls “the raging wild challenge of my future: a hawk that won’t be a solution to grief, but my wings to somewhere new.”

H Is for Hawk: A New Chapter,” presented by “Nature” on Wednesday, Nov. 1, on PBS (check local listings), watches Ms. Macdonald as she methodically molds Lupin, a warily majestic goshawk hatched in an aviary, into a trusting free flyer with murderous impulses intact.

It also follows Ms. Macdonald into the woods bordering England and Wales to glimpse these phantom predators prowling the forest canopy like stealth bombers. “Looking for goshawks is like looking for grace,” she says in the show. “It comes but not often, and you don’t get to say when or how.” KATHRYN SHATTUCK

The Light of the Moon (2017) Official HD Trailer #1 Video by Movie Pineapple Trailers

Film: ‘The Light of the Moon’

Opens Nov. 1.

After a night of drinking with co-workers, Bonnie, a Brooklyn architect, is grabbed from behind while walking home with her headphones on, dragged into a basement and raped. And soon the trauma from what she initially passes off as a mugging has fractured her stoicism and her life.

“The Light of the Moon” follows Bonnie, devastatingly portrayed by Stephanie Beatriz (“Brooklyn Nine-Nine”), from assault to examination and even into her bed. Her confident ebullience withers into guilt and shame, as she deals with her boyfriend, Matt (Michael Stahl-David), whose inattention morphs into overprotectiveness, and the oblivious colleagues she yearns to impress with her first solo project.

“I just felt so powerless, really nauseous and on edge the whole day,” Ms. Beatriz said in a New York Times interview about shooting the rape scene in this first feature by Jessica M. Thompson. “And I thought, ‘These are all the feelings anyone going through this would be having, only a hundred million times worse.’ ” KATHRYN SHATTUCK

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Marcello Magni in “Marcel.” Credit Pascal Victor

Theater: The Art of Clowning in Brooklyn

Through Nov. 19; tfana.org.

If you’re trying to attract a sophisticated crowd, there are words it is wise to stay away from. Clown, for instance, comes freighted with associations: red noses, fright wigs, face paint, fear.

So Theater for a New Audience is sagely touting Jos Houben and Marcello Magni, the European stars of its season opener, as “physical theater artists.” But these two — original members of Simon McBurney’s company Complicité and trained by the mime master Jacques Lecoq — are exquisite clowns.

A few seasons back, when Peter Brook and Marie-Hélène Estienne wanted to coax the humor from Samuel Beckett shorts in “Fragments,” they recruited Mr. Houben and Mr. Magni to the cast. Now the double bill of “Marcel” and “The Art of Laughter” — in previews for a Nov. 1 opening at the Polonsky Shakespeare Center in Brooklyn — promises poignant and probing comedy: The first piece is a silent showcase for the supple Mr. Magni; the second, Mr. Houben‘s examination of the things that reliably make us laugh. LAURA COLLINS-HUGHES

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