Brian Rogers talks about reprising his performance piece Hot Box, the challenges of performing, and his compulsion to keep creating.
I meet Brian at The Chocolate Factory (the performance space he and his wife Sheila Lewandowski founded and run in Long Island City) before we go for drinks. Sheila’s in there counting change for a neighboring business. She’s got on a warm wooly sweater and a cough. Brian’s looking at the computer. He’s sporting a new beard, hasn’t shaved since September which may have something to do with having made a new performance, traveled to four countries, presented six shows by other people, and participated in an artist residency in Seattle and his first gallery exhibition in Brooklyn, all in the last few months. The beard is cute. And I’m glad to get to see my friend for a few hours. We walk to Domaine and talk about many things, not all printed here. I start with the upcoming January 12–15 reprise performances (at The Chocolate Factory co-presented with PS122 as part of the COIL Festival of his performance, Hot Box). Press materials describe Hot Box as loud, dark, messy and inspired by films like Apocalypse Now, but we discuss the through line of quiet found within the piece. Brian’s work as a director straddles dance, theater, film, installation, computer programming, and music making. I find his work immersive and meditative, original and sophisticated. His mind is just as wonderful. I’m interested to hear what he’s thinking about right now.
Aynsley Vandenbroucke [laughter] We can totally digress, but I have a few questions to start with. How do you feel about redoing Hot Box a couple of months after the premiere?
Brian Rogers On the level of performing in it, I’m dreading it completely. Largely because normally when I make something, I can, after a while, think about what it was and for my own benefit decide whether it worked or didn’t. And I haven’t been able to do that with this piece because I’m in it. I made the thing and put it out there. And what I want to do is work on it more but I don’t know how. I’m happy to have the piece out there again, to have more people to see it.