Tag Archives: Austyn Rich


Maybe within the museum dance can have another rhythm, temporality, be made more elusive. Dance could then escape the heavily prescribed regime often found in theaters, with concise beginnings and ends and a required length. Here then it could even be made “ghostly.”

Even then, I can attest to my general feelings of unease with the weight of History and the collecting of objects within the museological frame. This unease also bears on questions of site/sight as it pertains to the museum as space for viewing dance and performance. I have become increasingly more comfortable and, let’s say, provoked by the role of seeing and being seen by an audience. This relation to an audience is crucial and in large part where the resistance lies in my work. — Ligia Lewis*

As the Hammer Museum, the Huntington, and an art-starved public wait for the chance to experience Made in L.A. 2020: a version in person, artist and choreographer Ligia Lewis has created a video documenting deader than dead, her work for the biennial.

Performed by Jasper Marsalis, Jasmine Orpilla, Austyn Rich, and Lewis, deader than dead “began with an intrigue-based inquiry into deadpan, an impassive mannerism deployed in comedic fashion in order to illustrate emotional distance. Utilizing this expression as a type of stasis, Lewis initially developed a choreography for ten dancers that remained expressively flat or dead, resisting any narrative or representational hold tied to a climactic build or progression. Lewis had relegated deader than dead to this corner of the gallery (a kind of ‘dead’ space) where the dance would ostensibly emerge, although deadened in its repetition, limited in its fate, as it ricocheted from wall to wall.

“[Lewis] abandoned this recursive ensemble of death due to COVID-19, reducing the cast to four performers and pivoting to a more traditionally theatrical presentation. In this new work the dancers use Macbeth’s culminating soliloquy (‘Tomorrow, and tomorrow, and tomorrow,’ a reflection on repetition and meaninglessness) as the beginning of a work that unfolds in modular parts, each one an illustration or parody of death, stasis, and the void, each one tied to its own carefully selected soundtrack or sample.”**

See link below to watch the video.


Made in L.A.: a version

Hammer Museum and the Huntington Library, Art Museum, and Gardens

Through March 2021.

*“Ligia Lewis and Ikechukwu Onyewuenyi in Conversation,” in Made in L.A. 2020: a version (Los Angeles: Hammer Museum; Munich: DelMonico-Prestel, 2020).

Ligia Lewis, deader than dead (2020), Made in L.A. 2020: a version. Video images © Ligia Lewis, courtesy of the artist and Various Small Fires, Los Angeles and Seoul.


AUSTYN RICH takes over Redcat’s social media on Saturday with a preview of new work, a look at life in quarantine, and a special presentation of LUNCHBOX—A MOVEMENT COMPOSITION SESSION.

My new project, LUNCHBOX, consists of a movement composition session where participants and l gather to share movement compositions in response to prompts or ideas I have prepared. Participants are given the opportunity to share their short pieces by using the “request-to-join” feature. This session will not be a performance but space to exercise movement expression. — AUSTYN RICH

See link below for more details.


Saturday, July 11.

5 pm on the West Coast; 8 pm East Coast.

AUSTYN RICH, from top: Photograph by Laura McCluskey; STAY SANE, photograph by Sam Trotter; BITE (2), photographs by Brian Hashimoto; TECHNICAL FOUL, photograph by Hiroshi Clark. Images courtesy and © the photographers and AUSTYN RICH.


One of the highlights of the recently concluded New Original Works Festival 2019 was BL**DY SPAGHETTI, a performance piece by Austyn Rich for two dancers.

Partnering with Alvaro Montelongo—Rich’s fellow graduate of the inaugural class of USC’s Glorya Kaufman School of Dance—the performers diagram an encounter between sailors in opposition, communicating desire and fear through anguished movement and deferred symmetries.

The music for BL**DY SPAGHETTI is by Cody Perkins, and the wardrobe by Pierre of No Sesso.*

See “Warm Bodies, No Sesso—The Art of Pierre Davis.” PARIS LA 16 (2018): 136–143.

Austyn Rich, Bl**dy Spaghetti, August 8, 2019, Redcat, from top: Austyn Rich; Rich (left) and Alvaro Montelongo (2); Montelongo and Rich (5); Rich; Montelongo (2); Rich and Montelongo (2); Rich. Photographs by Vanessa Crocini. Images courtesy and © the photographer, the artists, and Redcat.


The texts of Richard Foreman—founder of The Ontological-Hysterical Theater—have long been a defining influence on the work of performance artist, director, and Poor Dog Group co-founder Jesse Bonnell.*

As part of Week Three of Redcat’s NEW ORIGINAL WORKS FESTIVAL 2019, Bonnell presents PARADISE ISLAND, “a new work of theater that compresses a decade of writing into an evening-long performance. We are giving new life back into what could soon be forgotten texts of downtown loft-era performance throughout the ’70s.”

Based on Foreman’s writings from 1973 to 1983, PARADISE ISLAND is “part retrospective, part future-bending reinvention, [bringing] new life to one of America’s most influential experimental artists.”*

Also on the bill at Redcat: Austyn Rich’s BL**DY SPAGHETTI, and Source Material’s new music-theater work A THOUSAND TONGUES, performed by Nini Julia Bang and directed by Samantha Shay.


Thursday through Saturday, August 8, 9, and 10.

All shows at 8:30 pm.


631 West 2nd Street, downtown Los Angeles.

Top: Jesse Bonnell. Jesse Bonnell, Paradise Island, August 8, 2019, Redcat, from top: Brad Culver (foreground left); SarahJeen François (left) and Gabriella Rhodeen (2); Alex Barlas (left) and Culver; Pricilla Jin Chung (2); Barlas (left), François, Chung, and Rhodeen; Barlas and Rhodeen; Culver (3); performance; François; Rhodeen and Chung. Performance photographs by Vanessa Crocini (14). Images courtesy and © the photographers, the artists and performers, and Redcat.


For the performance art piece DOLORES—OUR LADY OF THE SORROWS, Ron Athey and Nacho Nava will present the Los Angeles debut of Missa Blue’s BLACK MADONNA.

Blue will be joined by musicians San Cha and Little Annie, movement performer Austyn Rich, and DJ Arshia Fatima Haq.


DOLORES—OUR LADY OF THE SORROWS, Sunday, June 24, from 7 pm to 11 pm.

THE VORTEX, 2341 East Olympic Boulevard, downtown Los Angeles.


Missa Blue.

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