Critical Correspondence
Critical Correspondence: Dance and the Museum
In 2013, Critical Correspondence initiated a project dedicated to the examination of dance in the museum today–its politics, economics, and aesthetics. Acknowledging a long history of cross-pollination between dance and the visual arts–some driven by artists, some by institutions–our hope is to create a forum, based in a dance institution, for the voices of those […]
Charles Aubin in Conversation with Abigail Levine
Curator and performance scholar Charles Aubin discusses his work at Paris’s Centre Pompidou and New York’s Performa Biennial, focusing on the current interest in live art and performing arts curation, particularly within the context of visual art institutions. Aubin addresses the differences in curatorial strategies in a yearlong programming calendar versus a biennial, the funding […]
Dance and the Museum: Noemie Lafrance Responds
1) What are the most potent questions prompted by the recent coming together of dance and the visual arts? Dance artists and visual artists collaborate everyday based on affinity and need, just like artists of all disciplines also collaborate. Cinema for example, is a purely collaborative form, much like the performing arts, which generally […]
Maria Petschnig in conversation with Marissa Perel
Maria Petschnig and Marissa Perel view and discuss the documentation of Petschnig’s live video performance, See-saw, seen-sawn at the Austrian Cultural Forum on November 10 as part of Performa 11. The audience sat facing a theater wall with projection, which alternated between live-feed and recorded video, controlled by Petschnig who was performing in a space above the audience and the stage.
All Things Seen: Claudia La Rocco in conversation with Marissa Perel
Renowned dance critic Claudia La Rocco discusses her journey into the profession, the culture clash between the dance and visual art worlds, her hunger for discussion about performance and the invention of P-Club, and why the starving artist model is gross. “I feel incredibly, incredibly lucky to have stumbled into performance and the way in which the field has activated my writing and changed it… I think that that doesn’t get acknowledged enough by writers, how there is an immense debt that you owe your subject.”
Jonathan Burrows in conversation with Milka Djordjevich
CC guest editor Milka Djordjevich interviews choreographer Jonathan Burrows about his body of work in collaboration with composer Matteo Fargion. Their first trilogy of works Both Sitting Duet (2002), The Quiet Dance (2005), and Speaking Dance (2006) and the first two pieces of their most recent trilogy, Cheap Lecture (2009) and The Cow Piece (2009), will be presented at Danspace Project November 3-5, 2001 in collaboration with Janet Panetta, curator of International Dance Dialogues, and Performa 11.
