OW 73 - Outweek.net

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-oJ' ·-u • • • • HIDDEN: AGENDA by Kate Bornstein. PS 122. 150 First Ave. (212) 477·5288. Nov. 29-30, Dec 2. , " , • ,"-' ",·mi' ,: '.' • • by Eileen Myles Kate Bornstein-actor, playwright, journalist, father of one, lesbian transsexual, gender explorer and founding member of Outlaw Productions will soon be appearing at PS 122 in her own three~woman play, Hidden: Agenda. A big smash at San Francisco's Theater Rhinoceros, Kate's show will be touring Europe follOwing the PS gig. I met with Kate Bornstein one bdght October afternoon at the Cafe La Strada on East 4th Street. Actually, I first crashed into her and Lori Seid walking down Second Avenue. At La Strada, after much delil>- . eration, we both ordered cafe mocha, which seemed completely queer: We laughed. Women from 4th Street's W<strong>OW</strong> Theater kept filing in, greeting Kate and myself, then explaining their . presence at the cafe by saying, "It's our office.» Kate and I spoke about everything, including her upcoming show, Eileen Myles: So have you performed in New York before? Kate Bornstein: No, never, actually-nothing, not then, not now. It's, kind of like a' reverse Oz in a way. It's, like, it's where I've always wanted to perform, and I'm scared. EM: I thought San Francisco was a great audience at, urn, at the Outwrite Conference. They had a lesbian reading at the beginning of it, and I just felt terrific-it was so open. KB: Is that what it's like here? EM: Well, what is it like here? Well, like any show I've done, Friday night is AlliN THEFAMILY-Sydney Erskine, Kate Bomstein (standing), Justin Bond -I c..:i •• I
'a'n klY' scrutiny is good , r ' .because that is indeed , • what ,we do, and. I ' rn",·aI" would rather die than nle . , , not show these artists. • • . '. ., - • ..".i" It says what the' by Patrlc,k Moore . .avant-garde does mat- In May of this year, Pranklin . ters like it did in Furnace became the first real casualtY .Eastern Europe. They In: the battle, over. government funding, weren't allowed to do,' for the' arts. WhUe this vet~ space anythlOg :because the for . tal art in NeW York City government knew that Will continue to. do vis~alart exhibi... artists can embody dis- " ! tiona on i\"SgrQund floor; 'the inysteri-· sent, and ..that's their ous black hole of abasement where job,and the .governmany performers first stepped on a ment didn't want that stage is aosed",(orever. As the fickle' dissent, Well, if this, inedia loses interest in the country is now clamp- NEA (:rlsis,:one.is left'to wonder if the ing dbwn on the artlst, art5communitY is prepared to help one· then that means the· of its own.' artist matters, arid the , ,Prankl~n ,Purnace has always government is:afraid of seemed like a·~egacy from more radical . ··the dialog that's' been . times with its focUs on "book art" and started. So it's not the willingness to engage unkn~wn per- worst of times from a formers from aaoss the co.untry., Some- .political standpoint at times it seems, as if the'performance all-it's the best of scene is a great Lazy Susan and If one times in that the issues ~ a performance, .one need only get aired. wait a week ~ see the I!IU.De performers On the other come around again and ~gain. Yet hand, publicity is not Pranklin Furna~e booked without regard" the same as money. to gender, race or sexual preference long Somebody in the press before any:.of these categories' became conference at the' flavor of the inonth; The simple fac;t ~ Public Theater asked that the Furnace didn't care If pnly two Karen Pinley, "Why do people came to sit on the, wildly uncom- you need grant money • • ~Ie folding chairs in die forbidding when The New York basement painted black. Simply being 7Ymes is writing articles there ~tuted a success. . about you?" And, of . Martha Wilson, the founder and courSe, you can't pay director of the Fumace, 'is one of th~ the rent with a New York 7Ymes article. true heroes' of this aisis as she cantin- Pranklin Purnace is on the same ," I ues to fight for a space below Canal ephemeral financial basis that it's Street where ",othemess" is a. fact of always been. It depends on grants', life. On this day, her wild r~ hair bobs which are not yery 'plentiful, the good about as sh~ digs thro,ugh piles of Will of artists arid a lot of spit aeepy letters from the NEA, the Gener- .OUr basement performapce ~,ace al Accounting Office and the beast hlm- is closed so we've started to look self, Jesse. Helms.' ~ . , around for other v~ues for' our 'pro- . , . ". grams. We've already got the grants, so . '. ,t • . Patrick Moore: What's the cur- we're gomg to go to Judson Memorial tent ~~s of Pranklin Furnace,? , Olurch, which Is where the artists of the ..Martha wµson: It's like Charles. '60s performed nude all thoSe years ago; DickenS said, "It's .the best of times All in all, this 'is good. To have and the worst of times." There's all this our' space - publldty, all this focus' on Pianklhl PUr- closed is Dace as the oevu incarnate becaUse it's bad, but • • showing -Karen Finley and these other we can probad artists llke.P.-ank Moore aqd J()~- s ely t i z e na Whent. That's very' good. This and draw a eo OUTWiI.K .D......... r.. 1_ , , .' • MARTHA WILSON OF THE FRANKUN RJRNACE (WAllPAPER BY DOUG KENNY) • • . , .. connection between what the artists did in ~ '60s and what the artiSts are doing • now. So I still think that while Jesse Helms is my worst enemy, he's also.my best friend, . . Ji .. 'PM: Does it matter in a decisive way that the programing has to .move ~ to a diff~t location? . MW: Only if the character of the programing changes. Por example, there's this signing of the anti-obscenlty pledge thing. I've always maintained that I would be happy to sign the pledge; get 'the money and give it to •
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OW 73 - Outweek.net

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