Genuine Plastic Reliquaries OFF-BROADWAY REVIEWS

Photo: Sara Krulwich
  • NY TIMES

  • Opening Night:
    April 9, 2015
    Closing:
    April 25, 2015

    Theater: Various Locations / N/A, New York, New York, 10003

    Synopsis: 

    From roadside billboards and all-night diners to 1970’s-era egg chairs, "Genuine Plastic Reliquaries" is a multi-part, multi-week installation performance project created by Third Rail Projects Artistic Directors Zach Morris, Tom Pearson, and Jennine Willett, commissioned by Arts Brookfield for three sites in Manhattan. From the kitschy to the ridiculous to the profound, "Genuine Plastic Reliquaries" honors the quotidian objects and environments of our lives. Each week, Third Rail Projects will create a freestanding art installation. Everyday artifacts, steeped in time and distance, take on the nostalgic patina of icons and become unlikely containers of remembrance. Alongside a series of poetic and quirky miniature dioramas, these art installations become the stage, setting and framework for lunchtime dance/theater performances - 'Yolk,' 'Sign of the Times,' and 'Pizza Queen' - a trio of movement-based works that include dance and song. "Genuine Plastic Reliquaries" is rumination on the relics of a bygone America.

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  • NEW YORK TIMES REVIEW OF Genuine Plastic Reliquaries

    In Third Rail Project’s ‘Genuine Plastic Reliquaries,’ All the City’s a Stage

    Ben Brantley

    April 17, 2015: Public displays of affection are hardly uncommon in Manhattan, where it can often seem as if all the world’s a make-out party. But few such demonstrations are as artfully awkward — or as thoroughly public — as that of a couple recently spotted on West 42nd Street. There, in the lobby of the Grace Building, before a wall of windows onto the street, a couple of lithe young things went through what felt like a whole cycle of love (infatuation, consummation, post-coital depression) within 17 minutes. They had their hands all over not only each other but also the seedy signage for a motel that had been installed as their personal playground. “Welcome to Paradise,” read one of the signs. “Open all night,” promised another. So the dancers Tara O’Con and Joshua Reaver made good on these implicit invitations by stretching, folding and curving themselves (together and separately) into poses of languor, excitement, giddiness and loneliness, while passers-by looked on and looked away.

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