Issue #35
Summer 2009
I think it was the performance artist Penny Arcade whom I heard speak about the fact that it takes about thirteen to sixteen years of the next century for the previous century to end. Or she could have said eight or ten or twelve. I'm not sure of the number but of the idea, I am certain. The recent deaths of Michael Jackson, Pina Bausch, and Merce Cunningham within the span of thirty-one days is for me nothing short of dance's end of the twentieth century.
One of the first things Keith Hennessy did when I approached him about generating content for his cover artist portfolio, was share with me some fan mail he had received from New Yorkers whose mind he had blown with his latest work, Crotch. He sent them in the body of the email with a brief message: “The voice of the audience rarely makes it – and yet it’s been such an important part of my work to attempt this kind of intimate, questioning contact and exchange.”
Editorial team
Editor-In-Chief
Trajal Harrell
Tim Murray - Troy Lambert - Matthew Lyons
Cover Artist
Keith Hennessy
Contributing Editor
Eleanor Marie Bauer - Cristiane Bouger - Dana Salisbury
Articles
Editor's Letter: Issue #35
I think it was the performance artist Penny Arcade whom I heard speak about the fact that it takes about thirteen to sixteen years of the next century for the...
News
FIRST iLAND SYMPOSIUM: DANCING URBAN DANCING GREEN For anyone who doesn’t yet know about Jennifer Monson’s iLAND organization or its annual iLAB art/science residency, here is an introduction: “Through the...
Follow-up: Dis-Organization: Sweet and Tender Collaborations and the Possibilities of Loosely Coordinated Group Action
The following is an excerpt from a presentation delivered at Independent Network’s symposium on cultural management: Istanbul, 2008. Sweet and Tender Collaborations began with a conversation in 2006, when a...
In-Depth: CPAU, Get Ready!
DD Dorvillier / human future dance corps presented Choreography, a Prologue for the Apocalypse of Understanding, Get Ready! at Dance Theater Workshop, NYC, in January 2009. The piece opened with...
Project Page: Melinda Ring + Jennifer Nelson
Note: In the original print issue, the text and images overlap in a collage-style layout. Day #4 - Elementary Psychedelia To build a vocabulary to communicate with the pigeons, we...
oTto + oLive: The Body Cartography Project
In the aftermath of the first ever Body Cartography Project, a festival of 23 site-specific events around Wellington, New Zealand, BCP director Olive Bieringa wrote, “The traditional theatre seems all...
5 Questions: Luis Lara Malvacias and Jeremy Nelson
WHAT DRIVES YOUR COLLABORATION? Jeremy: I think that since we are partners in our lives we talk a lot - we of course discuss our ideas about dance and art...
DVD Review: “Downtown Dance”
I was not really sure what to expect when I popped in director Kathryn Sullivan’s documentary series titled Downtown Dance . (Volumes 1 and 2 are the ones I took...
Making Dance to Survive Torture
My company, Irish Modern Dance Theatre , has interesting dancers: Ashley, Cheryl, Derry - all ex Cunningham - plus Becky, James, Philip - fierce, passionate Irish dancers. Then in 2003,...
Out of La Negrura Out of Blackness
Pepatian is the producer of Out of La Negrura/Out of Blackness, a collaborative dance theater project which began literally from a dream of “Bessie” award-winning choreographer Merian Soto. We were...
Interview: Keith Hennessy
It’s a pleasure for me to introduce the Canadian-born, San Francisco-based artistic dynamo known as Keith Hennessy, since we’ve been close friends for 17 years. We met in 1991 at...
Finding Cool Forms for Hot Content
Keith Hennessy is an escape artist who is breaking boundaries considerably more restraining than handcuffs, straightjackets or coffins. He is railing—passionately, relentlessly and with impressive theatrical know-how–against confinement that imprisons
Joseph Beuys, Keith’s “Crotch”, and ‘I’
With a performance as headily referential and queerly textured as Keith Hennessy’s Crotch (all the Joseph Beuys references in the world cannot heal the pain, regret, trauma, or betrayal…) ,...
Reprint: How to Remember a Show... a response to HOW TO DIE (Comment Mourir) by Keith Hennessy
1. Take the DVD on which the show is recorded, a pair of scissors and a red marker pen. 2. Cut the DVD into as many pieces as there are...
Love Letter to Joah Lowe
Keith Hennessy, Nov 04 Dear listener, dear living dancer, dear dead dancer, dear Joah Lowe: To write a love letter is to willingly open memory’s door. To invite the images...
Dance in Review: How to Die Manifestival: Dance Brigade’s Festival for Social Change
Dance Mission Theater, San Francisco, CA November 12, 2006 Keith Hennessey is not for the faint of heart. His work is raw, sexually explicit and violent. It’s also optimistic, romantic...
Project Page: Lewis Forever
Centerfold: In Memoriam: Pina Bausch
Festival: After Grand Union: conversation following screening at Performa 07
Trajal: I don’t think we should try to reconstruct the conversation we had last night. I think we should have another conversation, but maybe we should use a point from...
Festival: Performa
Celebrating the 100th anniversary of the publication of the Futurist Manifesto written by the Italian poet Filippo Tommaso Marinetti in 1909, Performa, directed by RoseLee Goldberg, organized a special Futurist...
Stolen ARTicle: Visual Art: A Show About Nothing
PARIS — There is a show in town that everybody should see. “Voids, a Retrospective,” which runs through March 23 at the Centre Pompidou, is not listed in the official...
Feature: Rehabilitating the Last Dirty Word
Throughout my 50s, I got stronger and clearer, more flexible of mind and perhaps still of body. Now I’ve begun to age quickly. The things I consider and choose to...
Six Sides, Topologically Distinct: Black Box / White Cube: A.L. Steiner and Ann Liv Young
A.L. Steiner uses constructions of photography, video, installation, collaboration, performance and curatorial work as seductive tropes channeled through the sensibility of a cynical, queer, eco-feminist androgyne. Steiner is a collective...
Production Meeting: Miguel Gutierrez’s “Last Meadow”
PERFORMANCE JOURNAL: Miguel, would you begin by telling us what are the questions and core concerns that started this process as a director? MG: One question was in relation to...
Focus on the Work: Yvonne Meier
Leslie Satin: You just performed Stolen , a new piece, at Danspace Project with Arturo Vidich and Aki Sasamoto. Like many of your pieces, it included an array of props—most...
The Artists Formerly Known as Chameckilerner
DEATH NOTICE ChameckiLerner, the Brazilian-born, New York-based dance company, died on Tuesday, May 2, 2007, at the Kitchen, an historic performance space in the Chelsea neighborhood of New York City....