Category Archives: DANCE

TRAJAL HARRELL — TRANSCORPOREALITIES

The Museum Ludwig ex­hi­bi­tion TRANSCORPOREALITIES “re­flects on the mu­se­um as a perme­able body in which vari­ous bi­o­log­i­cal, so­cial, tech­no­log­i­cal, po­lit­i­cal, and eco­nom­ic sys­tems flow in­to each other. Like all hu­man and non­hu­man en­ti­ties, it en­gages in per­pe­t­u­al metabolic pro­cess­es with its en­vi­ron­ment.”

On opening night—as well as Saturday and Sunday, November 30 and December 1—Trajal Harrell will perform a new work Dancer of the Year.

TRANSCORPOREALITIES participating artists also include Jesse Dar­ling, Fla­ka Hal­i­ti, Paul Ma­heke, Nick Mauss, Park McArthur, Os­car Muril­lo, and Son­dra Per­ry.

TRANSCORPOREALITIES*

Opening night:

TRAJAL HARRELL—DANCER OF THE YEAR

Friday, September 20, at 8:30 pm.

Exhibition open through January 19.

Museum Ludwig

Hein­rich-Böll-Platz, Cologne.

From top: Trajal Harrell, Dancer of the Year, 2019, Kunstenfestivaldesarts, Centre Pompidou, Brussels, © Trajal Harrell, photograph by Orpheas Emirzas; Oscar Murillo, Human Resources, 2016 (detail), installation view, Carlos/Ishikawa, London, courtesy and © Oscar Murillo and Carlos/Ishikawa; Jesse Darling, Virgin Variations (working title, detail), 2019, courtesy and © Jesse Darling; Paul Maheke, Seeking after the fully grown dancer *deep within*, 2016–19, courtesy and © Paul Maheke and VG Bild-Kunst, Bonn 2019, photograph by Henry Chan; Sondra Perry, Ecologue for [in]HABITABILITY, 2017–2019, installation view, Future Generation Art Prize, Venice, courtesy and © Sondra Perry, the Victor Pinchuk Foundation, and Bridget Donahue, New York; Flaka Haliti, What are they thinking that we thinking that they thinking we going to do next? #1, 2019 (draft), courtesy and © Flaka Haliti; Park McArthur, Polyurethane Foam, 2016, courtesy and © Park McArthur and Essex Street, New York and Lars Friedrich, Berlin. Below: Trajal Harrell. Images courtesy and © the artists, photographers, and institutions.

ADAM LINDER AT REDCAT

Playwright Bernard-Marie Koltès (1948–1989)—a key figure in French postwar drama—believed that dramatic action is always transactional because, writes stage director and Koltès scholar Fabrice Conte, “characters can only interact within the context of a form of negotiation.”

The relationship between the Client and Dealer in Koltès’ play Dans la solitude des champs de coton was the impetus for Adam Linder‘s contemporary opera THE WANT—at Redcat this week in its premiere Los Angeles engagement.

THE WANT will be performed by Jess Gadani, Justin F. Kennedy, Jasmine Orpilla, and Roger Sala Reyner.

Ethan Braun wrote the music and the lighting design is by Shahryar Nashat. The Los Angeles production is co-presented by CAP UCLA.

Working on projects in which our roles interweave, we don’t start with Shahryar as the maker of sculptures or of moving images. Because he’s worked in those mediums, his way of thinking has a particular texture. And because I’ve worked in performing arts and with liveness and theater, my way of thinking has a specific texture.

What interests us is how these textures either complement or productively resist each other. It’s not about the formal outcome of these mediums being combined. And that’s where I would ontologically separate our way of working together from the notion of the “interdisciplinary.” We don’t care about disciplines meeting, but about our sensibilities crisscrossing.Adam Linder

The reason why Adam and I say we never collaborate and are not interested in doing so is that we don’t really make work together. When he comes to me asking if I would do the stage design for a piece he’s making, I’m happy to work within his concept and apply my skills to his vision. For an artist, it can be playful to have these limitations—in an applied arts versus visual arts kind of way. Adam becomes a bit like my client. — Shahryar Nashat

ADAM LINDER—THE WANT

Thursday through Saturday, September 19, 20, and 21, at 8:30 pm.

Sunday, September 22, at 7 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

Linder and Nashat quotes are from their 2018 Bomb interview by Aram Moshayedi.

Adam Linder, The Want, 2019. Images courtesy and © the artists, performers, and videographer.

LIGIA LEWIS — WATER WILL (IN MELODY)

The Los Angeles engagement of WATER WILL (IN MELODY)—part three of the acclaimed trilogy by Ligia Lewis, created with performers Susanne Sachsse, Dani Brown, and Titilayo Adebayo—is at Redcat this week for three evening shows and a Sunday matinee.

“In WATER WILL, light is more hypnotic, fantastical. The unsettling qualities emerge out of different choreographic proposals that always include sound and light. I like when something familiar suddenly touches upon the uncanny, or a series of activities or movements is interrupted, or sonic and visual shiftiness disrupts the flow of things and creates a hiccup in perception. 

“I indulge in nonlinear thinking and allow myself to riff or go in multiple directions in a piece. This lends itself to going sideways versus straight forward. I’m an intense reader of my own work, but not in an analytical sense. It’s an intuitive process.” — Ligia Lewis

LIGIA LEWIS—WATER WILL (IN MELODY)

Thursday through Saturday, September 12, 13, and 14, at 8:30 pm.

Sunday, September 15, at 3 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

Ligia Lewis, Water Will (in Melody), photographs by Moritz Freudenberg, Julien Barbès, and Maria Baranova. Images courtesy and © Ligia Lewis, the performers, and the photographers.

CAP UCLA DANCE SEASON 2019–2020

Alastair Macaulay was unambiguous. Closing his 2018 review of the world premiere of FOUR QUARTETS—a collaboration between choreographer Pam Tanowitz, artist Brice Marden, and composer Kaija Saariaho—with the following paragraph, the former New York Times dance critic made its case for posterity:

If I am right to think this is the greatest creation of dance theater so far this century, we’re fortunate that FOUR QUARTETS will travel to other stages. I long to become more deeply acquainted with the many layers of its stage poetry.

The drawback for Los Angeles audiences is that this landmark work will be performed at Royce Hall in early 2020 only twice—a highlight of a remarkably strong CAP UCLA 2019–2020 dance season.

The season begins at Redcat, where Adam Linder presents THE WANT—a contemporary opera/performance piece based on a play by Bernard-Marie Koltès, with music by Ethan Braun.

Sankai JukuUshio Amagatsu’s all-male troupe of Butoh dancers, performing MEGURI—will be at Royce for one night only, as will Michael Keegan-Dolan’s Teaċ Daṁsa (House of Dance) in a new interpretation of SWAN LAKE, featuring a score by Slow Moving Clouds.

The great ballerina Wendy Whelan will dance at Royce, for two nights, in THE DAY. Choreographed by Lucinda Childs with a score by David Lang, Whelan will be joined onstage by cellist Maya Beiser.

The dance season closes in April 2020 at the Dorothy Chandler Pavilion with the Dance at the Music Center co-presentation of PALERMO PALERMO, a 1989 work by dance legend Pina Bausch and Tanztheater Wuppertal.

See link below for details.

CAP UCLA 2019–2020 SEASON OF DANCE

From top: Sankai Juku, Meguri; Adam Linder, The Want, photograph by Shahryar Nashat; Michael Keegan-Dolan, Teaċ Daṁsa, Swan Lake, photograph by Colm Hogan; Maya Beiser, Wendy Whelan, Lucinda Childs, and David Lang, The Day; Pina Bausch, Palermo Palermo, photograph by Jochen Viehoff; Pam Tanowitz, Brice Marden, and Kaija Saariaho, Four Quartets, photograph by Maria Baranova. Images courtesy and © the artists and photographers.

AUSTYN RICH AT REDCAT

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.