SAAL Biennaal 2015 / Twenty Looks or Paris is Burning at The Judson Church (S)

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SAAL Biennaal 2015 / Twenty Looks or Paris is Burning at The Judson Church (S)

SAAL Biennaal 2015:

TRAJAL HARRELL /New York/

Twenty Looks or Paris is Burning at The Judson Church (S)

17.08 / 18.08 / at 22:00

At Von Krahl Theatre’s Upstairs.

More info: http://www.saal.ee/event/835/

 

“Twenty Looks or Paris is Burning at The Judson Church (S)” takes a new critical position on postmodern dance aesthetics emanating from the Judson Church period. By developing his own work as an imaginary meeting between the aesthetics of Judson and those of a parallel historical tradition, that of Voguing, Trajal Harrell re-writes the minimalism and neutrality of postmodern dance with a new set of signs.
“What would have happened in 1963 if someone from the voguing ball scene in Harlem had come downtown to perform alongside the early postmoderns at Judson Church?”  is the central question in this new piece by the choreographer. “Twenty Looks or Paris is Burning …” comes in five sizes, from extra small (XS) to extra large (XL).  Rather than illustrating a historical fiction, these new works transplant this proposition into a contemporary context, here and now. What we experience was neither possible at The Balls nor at Judson. In the construction of an imagined audience — that of a 1963 Judson Church Dance Theater audience — in the minds of a real audience today, OR, in the distance between who we imagine a work is being performed for and its actual performance for those present, what kind of new relations can be created, adapted, and reassigned between performer(s) and audience?

Trajal Harrell
 is a dancer-choreographer whose work has been presented In New York and the U.S. at many venues including The Kitchen, The American Realness Festival, The Marguelies Art Warehouse (Miami, FL), Art Basel Miami Beach, Institute of Contemporary Arts- Boston, Danspace Project,  FIAF’s Crossing the Line Festival, The Wynwood Arts Fair (Miami, FL), Dance Theater Workshop, P.S. 122, and Dance Mission (San Francisco, CA), among others.
Internationally, his work has toured in France, the Netherlands, Belgium, Germany, Poland, Croatia, Portugal, Brazil, and Mexico, and has been presented in international festivals such as Rencontres Chorégraphiques, Festival d’Avignon, Impulstanz-Vienna, Panorama Festival- Rio de Janeiro, Brazil and Tanz in Bern, among others.

A graduate of Yale University, he has been an artist-in-residence at CDC Toulouse, The Institute of Contemporary Arts (Boston), PACT Zollverein, Workspace Brussels, The White Oak Residency and Dance Center, Snug Harbor Cultural Center, Movement Research, Bennington College, Wp Zimmer (Antwerp, Belgium), Impulstanz Vienna International Dance Festival, Workspace Brussels, Tanzhaus Dusseldorf, TanzWerkstatt-Berlin, Skite 2010 (Caen, France), CCN de Montpellier Languedoc-Rousillon, CCN de Franche-Comté à Belfort, and CNDC Angers.

In 2008, he was appointed co-artistic mentor for the DanceWeb program at The Impulstanz Vienna International Dance Festival. At Danspace Project he recently curated a six-week festival “certain difficulties, certain joy” as part of Danspace Project’s Platforms 2010.
He has created several full works: Notes on Less than Zero, Showpony, Twenty Looks or Paris is Burning at The Judson Church (S), Twenty Looks…(XS), Antigone Jr and (M)imosa aka Twenty Looks or Paris is Burning at The Judson Church (M), co-authored with Cecilia Bengolea, Francois Chaignaud, and Marlene Freitas. He has also shown work in visual art contexts such as The New Museum, The Margulies Art Warehouse (Miami), The Newhouse Center for Contemporary Art, The Bronx Museum of the Arts, and The Rosa De La Cruz Collection, where he collaborated with artist Assume Vivid Astro Focus. His ongoing projects, Tickle the Sleeping Giant and The Ambien Piece have been shown in galleries in New York and Berlin. A collaboration with visual artist Sarah Sze premieres at The ICA Boston in November 2011 as part of the Dance/Draw exhibition. His most recent work “The Return of The Modern Dance” premiered for the Cullberg Ballet.

Gérard Mayen
 is a journalist and dance critic. He contributes regularly to journals and magazines such as Danser, mouvement, Quant à la Danse, Pref, and Mouvement.net. He wrote the accompanying text or discussion, platelets, for many choreographic structures or venues such as: Théâtre de la Ville (Paris), Pompidou Center (Paris), Centre National de la Danse, Arcadi, National Choreographic Centres of Rennes, Montpellier, Angers, and Belfort, Lyon Biennale, Festival Montpellier Danse, Danse Uzes, etc. He is currently in a part of the organizing leadership for the 30th anniversary of the CNDC in Angers and is preparing a book on this subject. He designed and moderated the conference that AIDS had to dance, what dance has AIDS, at the Festival Montpellier Danse 07. He holds a masters of dance from the department at the University Paris 8. He devoted himself particularly to the analysis of performance. He has published two books in this framework: From march dance in the piece Déroutes by Mathilde Monnier (L’Harmattan, Paris, 2005), and contemporary dancers from Burkina Faso (L’Harmattan, Paris, 2006). He is a practitioner of the Feldenkrais method of awareness through movement. It integrates practical activities mediate the development of dance culture, offering the audience to dance an articulate reflection on the learning practice of perceptual awareness. In this context he regularly leads workshops taken at the request of a large number of French national theaters, SCC, and festivals.

Franklin Evans lives and works in New York. His work has been presented at multiple institutions in the United States, including MoMA PS1 (Greater New York 2010), The Drawing Center, El Museo del Barrio, Apexart, RISD Art Museum, Weatherspoon Art Museum, Yerba Buena Center for the Arts, and Futura (Prague). He has had solo exhibitions internationally, and is represented by Sue Scott Gallery (New York) and Federico Luger (Milan). In 2008 he co- curated “Perverted by Theater” at Apexart and in 2010 he co-curated “Lush Life” at nine LES galleries. His work has been featured and reviewed in New York Times, New Yorker, Time Out NY, New York Magazine, Art In America, Artforum, Flash Art International, Art Papers, Art Lies, Boston Globe, Art Agenda, among other publications and blogs. He has been awarded The Marie Walsh Sharpe Space Program (2009), LMCC Workspace (2004), Yaddo (2009), Trebesice (2010), and Pollock-Krasner Foundation Grant (2010). His work is in the permanent collections of El Museo del Barrio (New York), Weatherspoon Art Museum, The Sweeney Art Gallery, University of California, Riverside.

Moriah Evans has worked with choreographers Boris Charmatz, Elie Hay, and Trajal Harrell and the artist Tino Sehgal as well as the international choreographic collective INPEX.  Her work has been presented at CALit2 and Sushi Performance and Visual Art in California and in New York through Movement Research, AUNTS, Danspace Project, Dance New Amsterdam, and Dixon Place.  She engages in various writing projects as part of her own creative practices and through the Movement Research Performance Journal as the managing editor.  She was a danceWEBber (2009) at ImPulsTanz in Vienna, and from 2007-2008, she was a Stevens Fellow during which time she traveled to Brazil, Senegal, South Africa, Kenya, Germany and Belgium to do embodied research in relation to her choreographic practice. Her original dance training was obtained at the BalletMet Dance Academy in Columbus, Ohio where she graduated from the Professional Division She has rigorously trained under the physical and choreographic modalities of Merce Cunningham, Trisha Brown and William Forsythe and has been heavily influence by traditional African dance. These days, she just wants to get rid of form (and herself) through rigor– dissolving bodies, beings and shapes so that we might see things always in the between.

Michael Ventolo is a F.I.T. graduate. He has a background in fashion photography and illustration. His work has branched out to the art of costume design. Contact info: mcmv529@yahoo.com

Robin Meier is a Swiss composer and artist living in France. His interests lie in artificial intelligence and biological approaches to computing which he experiments through musical composition and installations. He specialized in instrumental composition in Lucerne and Zurich, electro-acoustic composition at the Conservatory of Nice, France and cognitive philosophy at the Jean Nicod Institute (CNRS – ENS – EHESS) in Paris. His works have been shown in Paris, Marseille, Zurich, Stuttgart, Minneapolis, Sophia-Antipolis, Venice, Tokyo, Nice and Linz amongst other places. As a musician and computer music designer Robin Meier works with IRCAM / Centre Pompidou (Paris), La Muse en Circuit (Paris), CIRM (Nice),  Radio France (Paris), FNM / Staatsoper (Stuttgart), CDMC-LIEM (Madrid) and many others. He has worked with Pierre Boulez, Myriam Gourfink, Georg Friedrich Haas, Garth Knox, José-Manuel Lopez Lopez, François-Bernard Mâche, Martin Matalon and many more.

 

http://betatrajal.org/home.html


Direction, choreography, sound design and performed by: Trajal Harrell 
Dramatist: Gérard Mayen
Dramaturgical assistance: Moriah Evans
Music: Robin Meieri “for Alan Turning” ja Imani Uzuri “Again Free”  
Costumes: Michael Ventolo, Trajal Harrell 
Visual art: Franklin Evans   
Premiere 1.10.2009 The New Museum, New York

 

In English.

NB! Artist talk on 18th August at 4pm in Kanuti Gildi SAAL.

 

Trajal Harrell Twenty Looks or Paris is Burning at the Judson Church (S) Bard 1

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