These are our top picks for the weekend of July 20–22. For more event listings and reviews, check out Goings On About Town.

Photograph by Daniel Perez / Swiss InstituteArt | Downtown

“Readymades Belong to Everyone”

The Swiss Institute inaugurates its elegant new digs—three floors and a roof garden, in a former bank on St. Mark’s Pl.—with a foray in what might be termed radical gemütlichkeit. “Readymades Belong to Everyone,” a peculiarly tidy clutter of off-kilter works by more than fifty international artists, architects, and collectives, is like a crowded party of inanimate sophisticates.—Peter Schjeldahl

Read more about “Readymades Belong to Everyone” here.

Photograph by Peter Gannushkin / Cuneiform RecordsNight Life | Greenwich Village


Proudly of the moment, the new jazz trio Thumbscrew is also mindful of the tradition that it so diligently messes with. Last month, the band, which features Mary Halvorson, on guitar, Mike Formanek, on bass, and Tomas Fujiwara, on drums, concurrently released “Ours,” a collection of spiky originals, and “Theirs,” which interprets the work of an eclectic array of composers, including the jazz exemplars Wayne Shorter, Stanley Cowell, and Benny Golson. This is the ensemble’s début week at the Village Vanguard.—Steve Futterman

Food and Drink | Bushwick


If you avoid the view through the front windows—of a low, graffiti-covered building, parked cars, and scraggly power lines—it’s easy to imagine Chicha, a new Nicaraguan restaurant in Bushwick, in a high-end hotel, with a pool, or even the ocean, just out of frame. The other night, the clientele looked like background actors, hired for atmosphere. The tabletops are a beachy pale pink; the cushions along the slatted-wood banquette are printed with pineapples and palm trees. It’s a set piece befitting a glossy editorial photo shoot. And who is going to capture this perfect scene? Why, it’s you! “GRAM-IT DAMNIT,” Chicha’s Web site commands.—Hannah Goldfield

Read a full review of Chicha here.

Theatre | Uptown

“The Damned”

In recent years, the European director Ivo van Hove has dazzled New York with his avant-garde reinventions of plays by Arthur Miller, Lillian Hellman, and Tony Kushner. But he’s also put his stamp on works originally conceived for the camera, such as Ingmar Bergman’s “Scenes from a Marriage.” His latest, “The Damned” (through July 28, at the Park Avenue Armory), staged with the Comédie-Française, uses the screenplay of the 1969 Luchino Visconti film, which traces the downfall of a wealthy nineteen-thirties steel dynasty that does business with the Nazis. In van Hove’s production, a camera operator weaves through the minimalist set, capturing the depravity in closeup.—Michael Schulman

Read more about “The Damned” here.

Courtesy MetrographMovies | Lower East Side


Barbara Loden directed only one feature, “Wanda,” from 1970, in which she also stars. It’s a defiant and pain-filled crime story of lovers on the run, in which the love is replaced by harsher emotions. Made on a very low budget, it’s one of the greatest American independent films, yet it was scantly distributed and badly reviewed; Loden never made another film, and she died in 1980, at forty-eight. “Wanda” is now being rereleased in a new restoration, opening Friday at Metrograph.—Richard Brody

Read more about “Wanda” here.

Classical Music | Lincoln Square

“The Creation”

Tonight and tomorrow evening, La Fura dels Baus, a Catalan company known for glittering productions involving puppetry, aerialists, and digital dazzlement, stages Haydn’s sublime oratorio “The Creation,” at Lincoln Center’s Rose Theatre. Drawing from the Book of Genesis, the Psalms, and Milton’s “Paradise Lost,” the work reflects its composer’s essentially optimistic morality: devotion and awe are emphasized over pious reprimand. Laurence Equilbey conducts performers including the extraordinary choir accentus and the period-instrument group Insula Orchestra in some of Haydn’s most profound and exhilarating music.—Steve Smith

Courtesy Marlene Millar and Philip SzporerDance | Uptown

Dance on Camera Festival

If you’ve been wondering what happened to the excellent Dance on Camera film festival, which used to take place in the first weeks of January, here’s your answer: it was moved to the slow weeks in the middle of the summer. The forty-sixth edition, at the Film Society of Lincoln Center, July 20–24, contains the usual mix of documentaries, artist portraits, film shorts, and performance archives. Highlights and curiosities include never-before-seen footage of Marcel Marceau, a fourteen-minute film of the extraordinary Indian classical dancer Shantala Shivalingappa performing in South India, a meditation on the history of tap by Mark Wilkinson, and three short films devoted to the Danish Romantic-ballet choreographer August Bournonville.—Marina Harss

Bars | SoHo


You might end up as lost as the crew of the S.S. Minnow on your way to Gilligan’s, a SoHo Grand cocktail lounge, which, in keeping with its desert-island theme, floats just off to the side of the hotel, at the mercy of the open sky. From mid-spring through the end of summer, once you find the entry gate, you can walk over a sand-brick path lined with fan palms and maidenhair ferns and emerge into a maze of patio umbrellas and Adirondack chairs that, much like the huts on “Gilligan’s Island,” expands to an unexpected size.—Neima Jahromi

Read a full review of Gilligan’s here.

In search of what to read, watch, and listen to? Visit The New Yorker Recommends for suggestions from our writers and contributors.



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