John Gutierrez writes from inside “This Bridge Called My Ass” from Miguel Gutierrez
And, yet, we are here, re-fashioning community and remaining soft in a building of stone. The monuments are crumbling. We can take an ax to their base or let them dissolve to the dust of their origin story.
Considerations of how to communicate certain ideas, evoke abstract affects, and share stories explicitly offer possibilities for shared dialogue.
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.”
“Double consciousness is knowing the particularity of the white world in the face of its enforced claim to universality… Double consciousness, in other words, is knowing a lie while living its contradiction.” – Biko Maura ruminates on white privilege and the mythology of the neutral body.
The age of the ally is over, let’s be accomplices. Maura on Rosy Simas, Nora Chipaumire and NIC Kay at American Realness 2018.
Michelle Ellsworth brings a real head trip to American Realness 2018.
I would have this piece on an endless loop that I might wander through like a cherry blossom viewing “hanami” stroll, or soak in like a yuzu-scented hinoki bath in the woods. Joanna Kotze and Mina Nishimura share thoughts from inside their fractal realm.
Between Walled Rooms is a series of freeform responses to live performance works by female identifying and gender nonconforming choreographers, initiated by Tara Sheena. This work is a response to Hadar Ahuvia’s “Everything you have is yours?”.
Perforations Festival brings us into direct responsibility for the execution of artistic ideas and challenges the passive stasis of sideline observation in a mostly successful series of performances that ripped apart conventional norms.