Here, thoughts are freed from linearity or reasonable binds. There, processing systems allow the universe to expand and retract as an infinite sponge. Where bodies transmute from human familiars to alien exotica.
mayfield brooks, jumatatu m. poe, and the I Moving Lab are part of aa three-week series conceived and curated by Marýa Wethers at Gibney Dance highlighted “intersections and crossroads among Blackness, queerness, and Indigeneity.”
As a central point of exploration: “Spaces are not exterior to our bodies, instead, spaces are like a second skin, they unfold in the folds of the body.”
3 shows from this past week: Edisa Weeks curates at 92nd St. Y Fridays at Noon, Stephen Petronio’s 3rd season of Bloodlines, and Gibney’s emerging artist program
A kinetic set design, drawing our attention to action rather than artifact.
This performance contains the hottest chair dance I’ve ever seen.
Hannah reflects on Patricia Hoffbauer’s “Dances for Intimate Spaces and Friendly People” and Jesse Zaritt & Jumatatu Poe’s “More Mutable Than You”.
On May 12, 2015, Gibney Dance hosted a panel titled “Dance Criticism in New York.” The event was moderated by dance writer and blogger Eva Yaa Assantewaa and included fellow dance writers Rose Ann Thom, Jaime Shearn Coan, A. Nia Austin-Edwards, Siobhan Burke, Charmaine Warren
Alyssa Gersony, Eli Tamondong, and Elena Light respond to each others’ pieces at Work Up, a presenting series for emerging dance and performance artists at Gibney Dance.
Emie Hughes speaks with Ayano Elson about “Name is Yoko”, premiering at Gibney Work Up 1.2, April 16-18.
Max Siegling reflects on Maya Ciarrocchi and Kris Grey’s “Gender/Power (composition II)” at Gibney Dance.
Looking for Work in All the Wrong Places Or: How I Stopped Believing in Unicorns and Learned to Ride a Horse
Alexander Leslie Thompson on un/under/semi-employment and the power of community.