The Venice Biennale collateral event THE DEATH OF JAMES LEE BYARS—presented by the Vanhaerents Art Collection—features Byars’ iconic 1994 work in conversation with Zad Moultaka‘s sound installation VOCAL SHADOWS.
Jacob Jonas The Company will close out its triumphant 2018–2019 season as the Wallis Company-in-Residence with two performances this weekend.
Daniel Ezralow will join company founder Jacob Jonas to dance in the world premiere of their new work viceversa. The evenings will end with a second world premiere: THERE’S BEEN A STUDY, choreographed by Jonas to an original score by vocalist and pianist Nicole Miglis—lead singer of Hundred Waters—which she will perform live.
Also on the bill: TO THE DOLLAR, Jonas‘ dance interpretation of Senator Elizabeth Warren‘s 2016 speech on income inequality:
“Today is Equal Pay Day. By the sound of it, one would think it is some sort of historic holiday commemorating the anniversary of a landmark day that our country guaranteed equal pay for women, but that is not what it is about—not even close. Because in the year 2016, at a time when we have self-driving cars and computers that fit on our wrists, women still make only 79 cents for every $1 a man makes, and we are still standing in the U.S. Congress debating whether a woman should get fired for asking what the guy down the hall makes for doing exactly the same job…
“Equal Pay Day isn’t a national day of celebration. It is a national day of embarrassment.”
Jacob Jonas The Company in performance at the Wallis Annenberg Center for the Performing Arts, May 10, 2019, from top: Daniel Ezralow and Jacob Jonas, viceversa, Ezralow (left) and Jonas; Jacob Jonas, Crash, Jill Wilson and Nicolas Walton; Crash (from left), Lorrin Brubaker, Emma Rosenzweig-Bock, Danielle Coleman, Joy Isabella Brown, Wilson, Walton, and Mike Tyus; Jacob Jonas,To theDollar, Brown (left) and Walton; To the Dollar, Rosenzweig-Bock (left) and Brubaker; Jacob Jonas, There’s Been a Study, Rosenzweig-Bock and Tyus; viceversa, Ezralow (left) and Jonas. Photographs by Matthew Brush.
Gruppo Nanou‘s WE WANT MILES, IN A SILENT WAY—choreographed by Marco Valerio Amico and Rhuena Bracci—will premiere over the weekend as part of LaMaMa Moves.
By removing the trumpet from Miles Davis‘ albums Birth of the Cool (1949), Kind ofBlue (1959), and Bitches Brew (1969), the dancemakers Amico, Bracci, and Marco Maretti “isolate and examine the work’s thrillingly elegant choreographic language, flights of improvisation, and composition methodology.”*
“In 1983, BenNeill moved from Ohio to New York City. What was going on at the time in music was a very free improvisatory kind of style, a way of fusing different elements together through oppositions and similarities. The result was rather superficial. Ben was more interested in isolating some elements in order to produce a kind of deep resonance keeping each element separate, unexpected, untimely, a kind of creative chaos, in which the pieces clashed and resonated in the distance without ever being pinned down logically. It was the aesthetic of the collage. This is what attracted Ben to David Wojnarowicz’s work.
“With David you always got the feeling that the pieces weren’t randomly chosen; they made some kind of underlying structure that held the pieces together. There was something in his visual work that Ben was trying to do in a musical sense, putting together styles from different historical periods and contemporary forms, but always with the idea of creating some kind of larger by-product. It was very profound. So he called up David and he suggested that they do a collaborative piece at the Kitchen with him. And this was ITSOFOMO [In the Shadow of ForwardMotion].
“In 1946 Antonin Artaud recorded a radio version of his famous text To Have Done with theJudgment of God. Directed by Artaud himself, this remarkable recording set shrieks and drumbeats inspired by the Tarahumara Indians against Artaud’s reading of a text about the mid-century American technology of war. War in a test tube, as the Virus of the Invisible, a destruction that is accomplished without bodily contact, spreading as seamlessly as the dream-transmission of primitive plagues.
“Fifty years later we are plagued by the invisible violence of a technology so accelerated that human life has come to a standstill. A globe cut up into cities of dead time. The texts that Wojnarowicz reads are an antidote to abstraction. Passionate, grounded, and dead precise, these texts violently reclaim the body by forcing us to experience the visceral reality of space and time. Set against Neill’s delicate, composed mutantrumpet, percussion, interactive electronics, and South American ethno-music, ITSOFOMO‘s forward motion becomes a battle to reclaim the organism of life.” — Sylvére Lotringer*
This weekend, Wojnarowicz and Neill’s multimedia performance piece ITSOFOMO will be restaged and performed by Neill and Don Yallech at KW Berlin.