Critical Correspondence
Dance and the Museum: Sarah Maxfield Responds
Performance and visual art have a long and winding relationship. The current trend of visual art institutions presenting performance isn’t exactly new territory, but it is noteworthy, and it has been raising some concerns in the performance field. Unlike most visual art curation (particularly of works by now-dead artists), one cannot curate performance in a […]
Dance and the Museum: Martin Nachbar Responds
1) What are the most potent questions prompted by the recent coming together of dance and the visual arts? Why don’t visual artists seem to trust the performative power of the objects they traditionally make and feel the need to extend their practices towards this performative moment? Why do dancers and choreographers seem to feel […]
Sarah Maxfield proposes An Alternative
Creator and curator Sarah Maxfield uses poetic structure to explore gentleness in performance.
Marissa Perel in conversation with Katy Pyle, Jules Skloot, Cassie Mey, Francis Weiss Rabkin, Sam Greenleaf Miller, Effie Bowen, and Lindsay Reuter
In February 2012, artist/writer/curator Marissa Perel spoke with dancer/choreographer Katy Pyle about her queered ballet form, Ballez, and the early stages of her latest piece, “The Firebird,” which was presented at Danspace Project, May 16-18. Here, members of the cast of “The Firebird” join Perel and Pyle to discuss motivations for the piece, each performer's experience of Ballez, and alternative approaches to the idea of failure in queer performance.
Maggie Bennett & Liliana Dirks-Goodman in conversation with Jeanine Durning
Choreographer/performance artist/dancer Jeanine Durning speaks with artist/designer Liliana Dirks-Goodman and dancer/choreographer Maggie Bennett about their collaboration at FACADE/FASAD. They discuss shifting perceptions of space and time, labor, value and compensation, desire, utopia, and the “practice of artistic practice.”
Deborah Hay in Philadelphia
Nicole Bindler, Programs Coordinator at Mascher Space Cooperative in Philadelphia, worked with thefidget space and University of the Arts to create a week of activities around the choreography and teaching of Deborah Hay. Eagerly anticipated, we presented a festival of solo performances spanning 15 years of solo commissions, a week-long workshop for Mascher Artists-in-Residence and UArts students, and Hay’s “Lecture on the Performance of Beauty” at UArts. Gregory Holt, workshop participant, and Nicole Bindler respond to the week of events.
Jack Ferver in conversation with Marissa Perel
New York based performer, choreographer, writer and teacher, Jack Ferver spoke with CC Co-Editor, Marissa Perel via Google Hangout about the process of making his new solo, “Mon, Ma, Mes,” which will be performed October 6 at Le Skyroom for FIAF’s Crossing The Line 2012. Ferver discusses returning to Interlochen as a guest artist, sculpting performance out of chaos, the art of the Q & A and the performance of persona.
Take-Out Performance: Minouk Lim in conversation with Jody Wood
Artist Jody Wood talks with video/performance artist Minouk Lim at a cafe near Minouk’s studio in Seoul, South Korea. “We are all born into a theatre. I even consider the womb to be a stage–a liquid theatre,” says Lim in their discussion of art, politics, and the notion of video as a “take-out performance.” Minouk Lim’s upcoming solo show at the Walker Art Center in Minneapolis runs from May 31 – September 2, 2012.
Performa 09: three horses run around a discussion at the performa hub one afternoon
by Biba Bell <horse #1. she says she cannot ride a horse. it is an issue of control. she does not want, can not, control the horse in the ways needed in order to ride. some of us have ridden, some not. patrick swayze had a horse ranch, said he.> how does conceptualism engage with […]
Le Mot Juste
by Clarinda Mac Low We’re all sitting together, breathing, bounded by mortality, waiting to be transformed. Performance is where one minute lasts a lifetime—one moment out of so many, burned into your brain and body and echoing. One moment of transcendence can last an awfully long time. It’s outside of narrative time. It’s stuck in […]
Creating an Atmosphere
by Clarinda Mac Low A hill, a lot of barking dogs, a funeral home, a chilly little hut, a modern rickshaw. How do you set a scene? A select group of people, a secret instruction, a cinematic purview in Prospect Park. What exactly is happening? Do I care? In performance the what is often subsumed […]
Moving Pictures
by Clarinda Mac Low In this quest to determine the traces of performance, one of the most important questions is…what is performance, anyway? This is a mushy question, and even attempting to answer it could bog me down in a series of unprovable conjectures, so I will posit the absurdly subjective statement—it’s performance if it […]
Going to Church
by Clarinda Mac Low Just about a week ago I was walking around on a Sunday morning, seeing, as one usually does on a Sunday morning in my neighborhood, people walking to and from church. As I watched a group of elderly church-goers, clearly friends, walking arm-in-arm, suddenly I got it. Of course! Church! (or […]
From the Inside Out
by Clarinda Mac Low For the first few posts on this blog, I spoke of the effect of performance from the outside in, as a spectator. However, I am also a practitioner, and recently I had a performance experience that I will work with here as a view on this subject from the inside out. […]
Beginning the Investigation
by Clarinda Mac Low Happy New Year. I have had the following thoughts rattling around in my head for a while, and I am finally bringing them out. What do we take away from performance? I begin the investigation by example. What follows is not by any means a review, but a highly subjective internal […]
