Since 2012, artist and writer Johanna Hedva (formerly Johanna Kozma) has been writing and directing a series of plays that she now refers to as The Greek Cycle. The plays are adaptations of ancient Greek texts that, in the author’s words, “have been rewritten to respond to feminist and queer political discourse, and relocated into contemporary contexts.” Each play has been developed in close collaboration with their performers, and each has taken place in an unusual location–Odyssey Odyssey, for example, was an adaptation of Homer’s Odyssey that took place inside of a moving Honda Odyssey.
On July 11, Hedva will open She Work, the fourth and final play in The Greek Cycle. An adaptation of Euripides’ Medea, She Work was developed with body-based artist Nickels Sunshine (formerly Nick Duran). It will be performed at d e e p s l e e e p, a private apartment that doubles as an art space. In advance of this concluding work, I conducted the following email interview with Hedva. To preserve the nuances of Hedva’s voice, the text is largely unedited from its original form.
Carol Cheh: Where does your acute interest in Greek plays come from? Why does adapting them for queer and feminist discourse appeal to you?
Johanna Hedva: my short answer to “why the greeks?” has always been “because they need it.” my longer answer is that i have a deep and complicated love/hate relationship with these stories, and couldn’t think of anything better to do in terms of storytelling. whenever i thought about adapting and directing a story, i kept falling into the greeks — probably because these are “original” stories in terms of their influence in western culture, and can be traced in many of the narratives circulating today in all kinds of art, and also because of their mythic-ness, their expanse and specificity. they are as big as cathedrals, oceans. also, i’ve had a tragic life, and find that i’m drawn to tragedy as a comfort (not a lesson). i like myths in and of themselves, and as cultural functions, as seen on a spectrum alongside or counterpoint to intimacy (my other fave), and i like a good story, so to that end, there’s really nothing better than the wildness of an ancient greek myth.
The Mountain Bar at Tif Sigfrids, with a performance by Gracie DeVito and company, August 7, 2014
Posted in historical notes, reviews and commentary, upcoming events on August 8, 2014 by Carol ChehImage courtesy Tif Sigfrids and Gracie DeVito
Tif Sigrids, longtime fixture on the early Chinatown scene before she set up her current digs in Hollywood, is paying tribute to her (and our) past with a temporary installation of the Mountain Bar at her gallery. Founded by Jorge Pardo and Steve Hanson in 2003, the Mountain Bar was for many years a gathering spot for the then-hot Chinatown art scene. In 2009, Pardo created the upstairs bar that would become home to The Mountain School of Arts (a free school initiated by Eric Wesley and Piero Golia) as well as various presentations, talks, performances and film screenings. In 2012, the bar closed, and Pardo’s designs have been in storage ever since.
Now, Sigfrids has taken an actual section of the original upstairs bar and installed it on one side of her gallery, where she and various volunteers serve free beer and wine to guests. The beautiful, cinematic design of the bar is served really well by the small, clean space of the gallery, where both its aesthetic qualities and its cultural significance seem to resonate with an extra glow, bathing the entire space in its warm, charismatic light. Perhaps nostalgia and history have something to do with that.
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