The Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute has announced its spring 2013 schedule of events. The new season features performances, talks, screenings, exhibitions, concerts and happenings that play with and challenge the boundaries of the arts, sciences and technology.
EMPAC is composed of four venues, each designed with unique technical infrastructure to enable the audience to see, hear and move in space in different ways. The facility hosts artists and researchers to create new works and present events that ask the audience to seek perspectives.
Tickets are $18 for general admission; $13 for non-Rensselaer students, seniors and Rensselaer faculty and staff; and $6 for Rensselaer students. Film screenings are $6; talks and installations are free.
For more information and the full schedule, visit empac.rpi.edu or call 276-3921.
• Friday, Jan. 25, 7 p.m. — Kris Verdonck + Alix Eynaudi: Exit. Belgian artist Verdonck and choreographer Eynaudi want to lull the audience to sleep. Pillows will be provided. Free.
• Thursday, Feb. 7, 7:30 p.m. — Ben Frost. Frost’s music exploits the physicality of sound, using every extreme of pitch and volume with visceral intensity.
• Friday & Saturday, Feb. 15 and 16, 8 p.m. — Brian Rogers/the Chocolate Factory: Hot Box. Hot Box is loud, dark, foggy, sweaty, messy, and very live.
• Thursday, Feb. 21, 7:30 p.m. “Holy Mountain.” Alejandro Jodorowsky’s 1973 cult film creates an uncompromising vision of the rituals and power of religion in an uproar of provocative images.
• Friday, March 22, 8 p.m. — Radiohole: Inflatable Frankenstein. A visually and sonically driven performance based on Mary Shelley’s early life and her novel “Frankenstein.”
• Thursday, March 28, 7:30 p.m. — “World on a Wire (Welt Am Draht).” A science fiction film in which the boundary between reality and simulation is ceaselessly questioned.
• Friday, March 29, 8 p.m. — Peter Evans Quintet. A jazz quintet for the 21st century — traditional idioms contorted by real-time computer processing and performed with pinpoint accuracy.
• Friday, April 5, and Saturday, April 6, 10 a.m. to 7 p.m. — Colin Gee: In the First Place. Gee, a Lecoq-trained actor, principal clown for Cirque du Soleil, and contemporary artist, presents a multilayered dance film installation that explores the relationship between memory and location. Free.
• Friday, April 5, and Saturday, April 6, 10 a.m. to 7 p.m. — Sarah Michelson: Devotion Study #2. Michelson works with animator Jack Tilley as they challenge the vitality of one medium (dance) through translation into another (animation). Free.
• Saturday, April 6, 7:30 p.m. — Cayetana Vidal: Tao. The third collaborative dance film between Argentian-based filmmaker Cayetana Vidal and choreographer Sofía Mazza explores the superimposition of movement and image.
• Friday, April 12, 9 p.m. — Robin Fox. An immersive laser show that envelops the audience in synchronous sound and light.
• Friday, April 12, 7:30 to 10 p.m., and Saturday, April 13, noon to 10 p.m. — Robert Henke: Fragile Territories. An installation using a state-of-the-art laser system to create floating patterns of volatile luminosity.
• Thursday, April 18, 7:30 p.m. — Quay Brothers: Selections From Phantom Museums. A screening program of the short films of the Quay Brothers, identical twins renowned for their stop-motion animated films that combine puppetry and painstakingly detailed handmade sets.
• Saturday, April 27, 8 p.m. — Marie Brassard: Trieste. Brassard and Infrarouge, her Montreal-based theater company, present a contemporary fable inspired by the city of the same name on the Adriatic Sea, developed in part during an EMPAC production residency. Free.
• Thursday, May 9, 8 p.m. — “The Third Man.” Outdoor screening of the classic 1949 film noir set in shadowy post-war Vienna, starring Joseph Cotten, Orson Welles and Alida Valli.
• Friday, May 10, 8 p.m. — Lisbeth Gruwez: It’s Going To Get Worse And Worse And Worse, My Friend. Belgian-based choreographer and dancer Gruwez transforms a recorded speech by ultraconservative American televangelist Jimmy Swaggart into a disturbing gesture and dance form.