Carlos Soto (b. 1980) is a director and designer based in New York City, where he studied Art History and Literature at the Pratt Institute. His GIRLMACHINE, created in collaboration with Charles Chemin, premiered at Performa 09 and toured to Paris, presented by the American University of Paris; Pig Pig Pig (2010) was performed at the Moscow Museum of Modern Art. In 2011, he created a short dance-theatre work featured in an evening of performance curated by Robert Wilson at the Guggenheim Museum. Soto was artist-in-residence at Kampnagel, Hamburg, in 2008; in September 2013, he exhibited work created in residency at Willem de Kooning’s Studio at Pace Gallery.
Carlos has worked with Robert Wilson since 1997 as a performer, designer, and assistant on numerous productions in the U.S. and Europe, most recently in The Life and Death of Marina Abramovic, alongside Abramovic and Willem Dafoe. He recently designed the costumes for the revival of Wilson’s and Philip Glass’s Einstein on the Beach and Zinnias by Wilson, Bernice Johnson Reagon, and Toshi Reagon. In 2013, Soto performed in Shara Worden (My Brightest Diamond) and Andrew Ondrejcak’s opera You Us We All, currently touring worldwide. In 2014, Soto collaborated with artist Davide Balula on a site-specific performance at the Palais de Tokyo, Paris, exploring connections between architecture, camouflage and dress. In May 2015, Soto designed costumes for Adam’s Passion, a collaboration with Estonian composer Arvo Pärt and Robert Wilson.
EVERYTHING ALRIGHT will be a musical theatre work for 5 performers, lasting approximately 90 minutes without pause. It follows the dissolution of a group of people faced with the intrusion of a visitor. The piece revolves around the seemingly infinite variations of views and values centered on a traumatic event as perceived by a group of people, overlaying multiple narrative fragments echoing the various experiences of our protagonists so that we perceive events as a plurality of moments prolonged and collapsed into each other. Their inability to recount the circumstances of the event as they may have occurred question the limits of communication and the fluidity of reality when measured against the experiences and memories of others. Past and present are confounded, as are dreaming and waking states. The piece aims to develop a vocabulary of multivalence and indefinite subjectivity. In the seeming formlessness of the ensemble, characters or allusions to characters rotate among a group of performers so that certain discernible details emerge and come into focus. No single person plays one role throughout, blurring chronology and place.