Rimini Protokoll’s Remote New York runs at NYU Skirball Center from March 14 – April 12. Fifty people wearing headphones swarm NYC, discovering new perspectives. A pedestrian-based live art experience full of complex soundscapes, Remote New York leads audiences on a journey that shifts perceptions of familiar landscapes, unifies the group, and conjures up personal memories. Seeing the performance is only half the fun, let us take you Beyond The Stage by sharing articles, interviews, reviews, videos, and more related to the production. Whether you are preparing to experience a performance or want to extend your understanding of the piece after the show, we hope you’ll keep the conversation going by telling us what you thought below.
Artist’s Website: Rimini Protokoll
Review: In ‘Remote New York,’ an Unseen Tour Guide Calls the Shots (New York Times)“Remote New York” — a remarkably efficient if seldom surprising exercise in crowd control from the German arts collective Rimini Protokoll— gives precise and neutral voice to thoughts most veteran city dwellers surely have on a regular basis.” – Ben Brantley, March 17, 2015
Article: ‘Remote New York’ a Tour from Brooklyn to Greenwich Village (New York Times) “Remote New York, presented by the Skirball Center for the Performing Arts at New York University through April 12, is the first major work in New York for Rimini Protokoll, founded in 2002 by Mr. Kaegi, Helgard Haug and Daniel Wetzel. Since then, Rimini has gained an international reputation with projects that use the tools of theater and ordinary citizen-participants to investigate “real life.” – Jennifer Schuessler, March 12, 2015
Article: Spectatorial Body in Multimedia Performance (PAJ, A Journal of Performance and Art) A piece about artists/companies who investigate the relationship between artists & spectators, the article includes a section on Rimini Protokoll as well as a section on another of our Visions + Voices: Germany artists, Gob Squad. “What I found unusual in much of my performance selection was that in three of the four media-based works I attended in a row, Gob Squad’s Revolution Now!, Rimini Protokoll’s Best Before, and Dries Verhoeven’s Life Streaming, my body was somehow engaged explicitly within the work—not something I have come to expect in viewing multimedia performance.” — Jennifer Parker-Starbuck, September 2011, Vol. 33, No. 3 (PAJ99), © 2011, pages 60-71