In the September world premiere of O Columbia, the new chamber opera from HGOco, a young Houston girl dreams of being an astronaut journeying to the stars.
Here, YouTube rabbit-holes have become otherworldly and the Internet is the stage where the best magic happens. The exhibition is a sort of “ghost in the machine,” the ectoplasm of conspiracy theories and the spiritualism of singularity.
“I think in order to make my best work, I have to fall in love with my subject,” said Karen Stokes when discussing her company’s upcoming production, Sunset at White Oak Bayou, which celebrates the story of Houston’s founding and the city’s original port.
A young Chinese artist’s reaction to Western contemporary art, a nod to tradition and the use of cheap labor for massive production of dubious quality are all touched on by Cola Project, one of the most compelling works in “28 Chinese” on view through Jan. 3 at the San Antonio Museum of Art.
In order to create new work, choreographers need two things: time and space. Most dancemakers have to choose one or the other, resulting in less than fully realized work.
