Issue #49
Fall 2016
This issue ended up being completed much later than anticipated. So, as you move through the content of this issue, keep in mind that the majority of content was generated prior to November 9, 2016. The results of the 2016 Presidential Election have shifted global, national and local affairs and perception of government overnight. Times are uncertain. Is this the end of an era or a beginning of a new one? Continuity perhaps ruptured and yet not at all.
I am stupefied by all of it, which makes writing this note an especially difficult task. One thing seems certain: complacency is over. We have to work for democracy, protecting the environment and human rights. Here are some words from Frederick Douglass:
Those who profess to favor freedom and yet depreciate agitation, are people who want crops without ploughing the ground; they want rain without thunder and lightning; they want the ocean without the roar of its many waters. The struggle may be a moral one, or it may be a physical one, or it may be both. But it must be a struggle. Power concedes nothing without a demand. It never did and it never will.
Maybe as we read, simultaneously and separately, we can gather in telepathic resistance, argument and conversation.
Editorial team
Editor-In-Chief
Moriah Evans
Managing Editor
Lauren Bakst
Design
David Knowles
Contributing Editor
Matthew Lyons - Macklin Kowal - Katy Dammers - David Watson
Copy Editor
Conor Creaney
Ad Layout
Kat Norcutt
Heather Meehan - Benedict Nguyen
Articles
On Trajal Harrell's Caen Amour
In February of 2013, Trajal Harrell presented Used, Abused and Hung Out to Dry at MoMA in New York. In this performance he brings together Japanese avant-garde dancer and choreographer...
Bodies in Revolt
We were celebrating two birthdays at Dinosaur BBQ after a full week of rehearsals and filming. It was loud, and given the size of our party we had been seated...
The High Marks
Walking the Hyphen in Palestine-Israel
It took me until I was nearly 30 to visit Palestine/Israel, this summer, as I researched contemporary art and film that refracts the political realities of military occupation, dispossession, and...
Arkadi Zaides
Hadar Ahuvia: Since 2009 your choreographic work has dealt with social-political content. What politicized you? Arkadi Zaides: In 2007, I initiated several community projects in Arab and Druze villages and...
Datebook: AUNTS
2005 Created by Jmy James Kidd and Rebecca Brooks 2005 Organized by Jmy James Kidd and Rebecca Brooks 2005-2006 From JMY on the origin of AUNTS: AUNTS’ first event series...
Unbinding the Unresolved: Latifa Laabissi
The work of Latifa Laâbissi operates at sites of conjuncture. It spurs encounters between different orders of knowing, thinking, and imagining the body. To map them is to map different...
Centerfold: Kota Yamazaki
Somatic technique, butoh
Iris, Alexandra, Mariela, Katerina, and Myself
Diary, 25.11.2015 (extract) I don’t know if this ever happens to you. People often think they’ve met me before. Whether it’s a sister or a girlfriend who looks like me,...
Julius Eastman
Music composition
Shoshona Currier in Conversation with Abigail Levine
Abigail Levine: Would you introduce yourself a little bit, who you are and where you’re speaking from? Shoshona Currier: Sure. My name is Shoshona Currier; I’m the Director of the...
An Allegorical Essay
Author’s Note: This text is my response to a dissonance caused by a reality of competition over limited resources, against the sense of oneness embedded in our shared love for...
Open Letter to Jan Fabre
On February 11th, 2016, Belgian artist Jan Fabre was appointed Artistic Curator of the Athens and Epidaurus Festival by Greek Minister of Culture, Mr. Aristides Baltas. The following letter is...
In Time: Zurich Moves 2016
A patchwork of luxury brand labels and shiny lamé material—consumerism and capitalist culture in every brand and sheen—covered the back wall of the spacious hall of Zurich’s Tanzhaus. The brightly...
Biennale Danza 2016
Compared to the internationally established and widely respected Venice Art and Architecture Biennales that alternate each year, the Venice Dance Biennale (Biennale Danza) is less known and promoted, not only...
Tanzkongress
The closing panel of the 2016 TanzKongress, held in Hannover, Germany, brought together the artists and scholars who had been invited to speak and lead workshops as a part of...
Editor’s Letter
This issue ended up being completed much later than anticipated. So, as you move through the content of this issue, keep in mind that the majority of content was generated...
Project Page: Jaamil Kosoko
Letter to President-elect Trump
ACLU, Stolen Ad, New York Times, Trump
Text for Not-About-AIDS-Dance
This is the first material I made after my brother died. Jo is dancing that same material again. Ellen is dancing that same material again. Ellen was a big pothead...
Project Page: Jillian Pena
Portfolio: Trajal Harrell
Diamond Life
4 October 2016 Debra Levine To live in intimacy with a stranger, not in order to draw him closer, or to make him known, but rather to keep him strange,...
On Trajal Harrell’s Caen Amour
Caen Amour: The Hoochie Coochie
Anchored to thought, genetically programmed to explore unforeseen or not-thought-of territories in dance, Trajal Harrell is foremost—essentially and exceedingly—an actor of performative forms. Understanding that this idea does not mean...
Photo Essay: Caen Amour
Interview: Trajal Harrell and Moriah Evans
Moriah Evans: Here we go. Trajal Harrell, 2016, July 27… How are you? Trajal Harrell: Good, I’m tired—I left very early this morning; had to drive to Jacksonville, Florida from...
Review Reprints
Interview: Ana Janevski and Trajal Harrell
At the conclusion of Trajal Harrell’s two-year Annenberg Artist’s Commission Research Residency at The Museum of Modern Art, associate curator Ana Janevski sat down with the artist to reflect on...