Archive for the ‘Interviews’ Category

Interview with Levi Gonzalez by Tess Dworman from Womanzine

Here’s an interview between Levi Gonzalez and Tess Dworman for the publication WOMANZINE.


The power of dance is that it opens things up, creates new spaces and possibilities, and is constantly shifting, like the imagination.










time & the imagination 

Issue 2: Winter 09/10

womanzine is a production of WOMANSINC., birthed ceremoniously through WOMANDINNER. WOMANZINE is about/for/not for women. Copyright 2007-2010. Contact: Womanzine 2.0:

Podcast: A Pluralistic View of the Judson Dance Theater Legacy: Yvonne Rainer and Aileen Passloff with Wendy Perron

MR in Residence at the New Museum
Rethinking the Imprint of Judson Dance Theater Fifty Years Later

A Pluralistic View of the Judson Dance Theater Legacy:
Yvonne Rainer & Aileen Passloff with Wendy Perron

Listen to the Podcast Here:


Through a series of discussions, presentations, artist residencies, and town hall meetings, Movement Research reconsiders the legacy, mythology, and permutations of influence that continue to echo from the occasion of Judson Dance Theater (1962-64).

The divergences between the work of Yvonne Rainer and Aileen Passloff highlight the vastness of the imprint of Judson Dance Theater (1962-64; JDT) while dismantling the myth of a singular Judson aesthetic. Rainer, along with dance artists Steve Paxton, Trisha Brown, Lucinda Childs, David Gordon, and others, broke with the conventions of modern dance by exploring task dances and the Dadaist idea of radical juxtaposition. Passloff, along with Jimmy Waring, Fred Herko, Arlene Rothlein, and others, reveled in the full-out dancing and whimsy of modern dance. In this talk, moderated by Wendy Perron, Rainer and Passloff consider the legacy of Judson Dance Theater from the perspectives of their divergent practices.

Some questions that Rainer and Passloff addressed: What were you saying “No” to, and what were you saying “Yes” to? In what ways did the ’60s affect Judson Dance Theater? How did others in the JDT collective influence your work? What artistic values do you feel JDT has handed down to later generations?

This event took place on October 28, 2012 as part of New Museum’s RE:NEW RE:PLAY residency series, co-presented with Movement Research. The RE:NEW RE:PLAY residency series is curated by Travis Chamberlain, Public Programs Coordinator at the New Museum.

photo: Yvonne Rainer in Carolle Schnemann’s Newspaper Event, by Al Giese

Video Clips from Movement Research at the Judson Church 4.9.2012

Video Clips from Movement Research at the Judson Church, 4.9.2012

Featuring Works by Lauren Bakst, Miriam Wolf**, Rebeca Medina, Jung-eun Kim (aka j.e.)
**Movement Research Artist-In-Residence 2010

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Podcast: Movement Research Festival Fall 2011 – Sondra Loring interviews Steve Paxton

This is Sondra Loring with Steve Paxton on the topic of the theme of the Movement Research Festival Fall 2011: DEVOTION/RIGOR/SUSTAINABILITY.

Listen to the Podcast here:

Movement Research Studies Project Podcast Published: Symposium on Masculinity and Embodied Practice.

Excerpts and documentation of Making Men, a series of videos and installations presented by Susan Mar Landau as part of the Movement Research Studies Project: Symposium on Masculinity and Embodied Practice

Moderated by Ben Spatz
July 29, 2010
Medicine Show Theatre

The symposium included several paper presentations, speakers, and performances. Excerpts and documentation of Making Men, a series of videos and installations was presented by Susan Mar Landau.

Studies Project is an artist-curated series of panel discussions, performances and/or other formats that focus on provocative and timely issues of aesthetics and philosophy in the intersection of dance and social politics, confronting and instigated by the dance and performance community.

To view program from the symposium visit:

12 mm, or, my insides stage a civil war

I spent the early morning hours of Sunday in a Brussels hospital, attached to an IV and awaiting my fate.  One of my, and probably a fairly universally shared fear is to get seriously ill or injured while in a foreign country.  There is little that feels so isolating then to be in a place of complete unknown, both with the personal geography of my body and also in a state of ignorance to literally where I am.

At 4am, I was awoken by a pain so intense in my lower abdomen I was nauseous and shaking, unable to stand up-right, but also unable to curve my spine.  There is nothing like pain to make one closer to animal and less human.  I lost any care for social norms, and began crawling around the floor of the apt, searching for my passport and barely realizing that i needed to dress myself.  I was  taken by ambulance through the dark streets of Brussels, to a hospital of unknown origin, to be cared for by people who don’t speak my language, separated by an ocean from those i love.

I have to say that my body chose a very interesting way of celebrating Mother’s Day- as it turns out-

Disclaimer (the following part refers to body parts in perhaps a graphic manner.  If you are not comfortable with this, or are a right wing fanatic that doesn’t believe in women’s health care, you may want to skip this section)

-as it turns out, one of my ovaries had twisted while I was ovulating, constricting the blood flow and pressing into my various precious internal organs. imagine someone holding your ovaries in their hands (gentleman, imagine your testicles,) repeatedly wringing them out like a wet dishtowel, while simultaneously punching me continuously with tiny lead fists.

Amazingly enough, as the doctor gave me a sonogram, I was still able to have a momentary stroking of my ego, as he told me that he had never seen any one’s arteries so clearly, but because of my “extremely muscular and slim abdomen” (direct quote) my major veins were visibly pumping to the surface.  he was very excited, because, he said, he was actually getting to see anatomy he never gets to see, quote “I’m used to Turkish women with bigger bellies.”  Also during this, my IV began to back up, so that instead of clear solution/drugs running in me, my blood began to run out of me down the tube, and a nurse had to unscrew the connection and pour the excess blood (Mine! I couldn’t help but think) into a bowl. A particularly  stomach churning moment.

I was told that i faced the possibility of immediate abdominal surgery if my ovary had twisted too far.  Oh, priorities.  When I had gone to bed, what I had wanted most was the spicy crepe i would eat at the Sunday market. Now my new priority became avoiding being sliced into like a fish, and having my organs manually reorganized like the finishing touches of an interior designer. (“hmmm, I really sense a better Feng Shui if we just slide this ovary to the left just a little…”)

As it turned out, I am very lucky, and was exactly 12 mm away from needing  emergency surgery.

However, when the doctor asked if I would be doing any physical activity over the next week (im performing in 5 days) I of course said yes.  All though he reassured me and said it should be fine, I can’t help but have this image of my organs swinging helplessly inside me, just waiting for me to make the wrong move, jump, or spin, so that they can collide and tangle themselves beyond repair.

It’s interesting, just to think of this in a dance/creative process context.  In the project I am in with Xavier Le Roy and Marten Spangberg we have been constantly discussing the possibilities of new composition or movement with the manipulation of constraints on context, body, or image.  To me, the last couple days has placed my entire physical, emotional, and mental self into a new context and land of constraint.  I’m accustomed to being able to pretty much make or let my body do anything-im a fairly extreme mover, strength wise, stamina wise, flexibility wise.  I’m used to (and also, I admit, get psychological satisfaction from) putting my body through a rigorous physical practice at some point almost every day.  Now I’m in this place of highly tuned sensitivity to every movement my body makes superficially, and how that is affecting the movement of my internal organs.

In some ways, its very interesting to be paying attention and receiving much more information from my insides than I am usually capable of.  On the other hand, I feel like my physical practice has reached a slightly paranoic level of sensation, sensitivity, and response, that is of course unsustainable.

How do I wrap this up-I guess I’ll just say that the body never fails to surprise.  You just can’t control everything.  You can try, you can feel healthy and strong and invincible, but in the end we are this fragile animal composed of soft and quickly decomposed pieces, that at any moment might decide to stage an insurrection and remind you of their power.

Masculinity and Embodied Practice

Video with interview and clips from the symposium.

Thanks to Ivo for making this video!

Ben Spatz
Artistic Director
Urban Research Theater
MR-AIR 2010-2012


Hello, all—I’m jumping into Day 2 of HARDCORPS, the MR Spring Festival 2010 as your festival blogger. My mission is to see as many events as possible (i.e. write them into my day planner and actually go to them). Festivals in New York are always a bit fraught for me. On the one hand—wow! So many amazing events all packed into four days. And on the other—shit! More things for me read about and regret missing. As festival blogger I will in part brag about the fact that I got my ass to all these shows, but I also hope to inspire you to get your ass to some things. The curators are really making it easy on you, since all of the events involve some combination of drinks, food, karaoke, and hot bodies.

Last night (Thursday) I saw the Free Radicals program at Abrons Art Center. The show started outside with a piece by Enrico Wey. He and his dancers arranged us so we were standing in two rows in the amphitheater. A photographer lurked, snapping photos of the audience, and thus begun the “did the piece start?” game. It had, and quite beautifully, with dancers weaving in and out of sidewalk and street traffic, all making their way to the bottom of the amphitheater where they stared, as a group, back at the audience. (Ten shorter and friendlier Marinas.) I’m not sure if Enrico was commenting on “The Artist is Present,” but the artist and and co were certainly present and they demanded that we have our $10 entry in hand. There was something sort of pathetic about the group of us clutching our $10 bills—it made me very aware of the terms of transaction and the accompanying expectations—here we all are, about to spend two hours in a dark theater in vague but distant hopes of a transformative experience. This seemed fitting to me. Aren’t the best performance events those that make me reflect on who I am and what I’m doing? I think that festivals, more then making us stressed out about seeing things, have the potential to make us question why and for whom work is being made.

I will report back with more later today.

Lydia Bell is a dance artist, teacher, and administrator based in Ridgewood, Queens.

  • June 4th, 2010
  • Lydia Bell

Updates from Critical Correspondence, 5.04.10

Hi All

Wanted to call your attention to a conversation with Isabel Lewis and Levi Gonzalez on the occasion of her show Strange Action happening this weekend at PS 122. Isabel and Levi talk about the differences between New York and Berlin, Isabel’s shifting relationship to collaboration, performance and process, and her evolution as an artist.

Also, stay tuned for a very personal conversaton on the role of doubt in the creative process and how life gets absorbed into a working process when Donna Uchizono talks with Ralph Lemon about her dual location performance this weekend at Baryshnikov Arts Center and The Kitchen.

Much more to come on Critical Correspondence in the coming weeks as we wrap up the season, so be sure to visit.



  • June 4th, 2010
  • Critical Correspondence

Update from Critical Correspondence 5/3

Hello from Critical Correspondence!

Many new artist conversations coming down the pipe so stay tuned. In the meantime we have just posted a conversation between Raimund Hoghe and Lili Chopra. Last fall was the first time Raimund Hoghe’s work has been seen in the US, thanks in part to his NYC presentation in the French Institute’s Crossing the Line Festival curated by Lili Chopra and Simon Dove. Hoghe, and ex-dramaturg of Pina Bausch’s Tanzteater Wuppertal, shares with us his unique perspective on making work and the personal and political ramifications of our aesthetic values.

photo by Rosa Frank
photo by Rosa Frank

Be well,

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