Artists and choreographers have been engaged in an intermittent pas de deux since the early 20th-century heyday of the Ballets Russes. This season, that collaborative tradition is revived, with updates for a digital age.
The Brooklyn Academy of Music kicks the season off by reprising two iconic partnerships from the 1980s: Trisha Brown’s Newark, with its stark set by Donald Judd, and Set and Reset, with textural costumes by Robert Rauschenberg (January 28–30). Tickets, from $25. 30 Lafayette Ave.; 718-636-4100; bam.org.
In February, New York City Ballet’s resident choreographer, Justin Peck, teams up with hauntingly whimsical visual artist Marcel Dzama and guitarist Bryce Dessner of the National for The Most Incredible Thing, based on a Hans Christian Andersen story (February 2). Tickets, from $30. 20 Lincoln Center; 212-496-0600; nycballet.com.
MacArthur fellow Kyle Abraham’s Absent Matter, a collaboration with digital artist Tahir Hemphill, tours the country in late winter. abrahaminmotion.org.
Miami City Ballet presents Balanchine’s A Midsummer Night’s Dream, reimagined as a contemporary South Florida love story, with sets—patterned on marine lab samples—by Michele Oka Doner (March 18). Tickets, from $25; 2200 Liberty Ave.; 305-929-7000; miamicityballet.org.
Tesseracts of Time, New York–based Jessica Lang Dance’s multidimensional partnership with Steven Holl Architects, starts a seven-day run at New York’s Joyce Theater in June. 175 Eighth Ave.; 212-691-9740; joyce.org.