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This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
The pride of Mason County, Wood Paneling rocked the garden gnome and other sundry instruments at the 17th Annual Olympia Experimental Music Festival on Saturday June 11th at The Northern.
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
29 MAI 2015 - 3 JUIN 2015
rencontre performative avec : Allyce Arsenault, Miri Chekhanovich, Marc André Goulet, Soleil Launière, Mélodie Talbot et Catherine Tardif, avec la collaboration de Caroline Gravel et Karina Iraola
Les 29, 30 et 31 mai 2015, au parc des Faubourgs rue Ontario Est (coin Dorion), de 17 h à 18 h, beau temps, mauvais temps.
Finissage à la roulotte de DARE-DARE, le 3 juin 2015, de 17 h à 21 h.
*DARE-DARE est maintenant situé face au marché Atwater, sur le triangle formé par les avenues Atwater et Greene et la rue Doré à 5 minutes à pied du métro Lionel-Groulx.
« La création amène des réponses à la vie sans qu’on connaisse trop les questions » Allyce Arsenault
MARGE est le second volet du projet RÛE initié à l’automne 2014. Ce projet consiste en une série de recherches sur la rencontre, le dévoilement et la dilatation du temps.
MARGE est un projet avec des jeunes qui ont fait des choix marginaux et/ou des jeunes marginalisés. Jeunes et artistes performeurs/danseurs se rencontrent, se lisent, se disent et se livrent, sur la rue, en de petites bulles performatives dans lesquels les passants sont invités à entrer.
Dans sa pratique, Aurélie Pedron explore la rencontre entre le corps et la matière et développe une réflexion sur le rapport au public et au lieu. Elle oriente ses recherches vers l’installation et la performance. Aurélie aime considérer le corps comme un vecteur, un révélateur d’images invisibles.
Voir le projet RÛE.
//////
Aurélie Pedron s’est installée à Montréal en 1999. D’abord titulaire d’un baccalauréat en danse à l’UQAM, elle a ensuite complété en 2013, une recherche/création à la maîtrise sur « L’émergence en création ou l’anti-héroïsme du créateur ».
À ses débuts, elle réalise plus de 10 œuvres vidéo, diffusées dans plus de 14 pays : en Asie (Japon, Inde, Corée du Sud, Taïwan...), en Europe (France, Grande-Bretagne, Allemagne...), en Amérique du Sud (Brésil), en Russie et aux États-Unis. La scène garde cependant une importance fondamentale. Ses solos ont été présentés à Tangente, au Studio 303, à la SAT, aux Ateliers Jean-Brillant et au Blinding Light à Vancouver.
Avec la création de CHAIR en 2011, Aurélie Pedron conjugue, par le biais du circuit fermé, la scène et la vidéo. Avec la création de Corps caverneux (soutenu et diffusé par Tangente et Danse-Cité en 2013), elle poursuit sa quête de rencontre entre corps et lumière. Elle a également collaboré avec la compagnie de théâtre Odelah Création en tant qu’interprète et vidéaste.
En avril 2013, elle fonde sa compagnie de création Lilith & Cie, avec laquelle elle explore la perméabilité des matériaux et le rapport privilégié au spectateur qu’offre la nanoperformance. Son travail a été présenté au Festival de Théâtre de Rue de Lachine, ainsi qu’au FNC. Sa dernière création ENTRE, nanoperformance sur le thème de la rencontre, est présentée à Tangente lors de la saison 2014/15.
Aurélie travaille présentement sur LA LOBA, une installation performance avec 11 femmes et quelques loups, SAPPHO est un projet sur l’érotisme qui se veut ni choquant, ni vendeur.
Le projet MARGE bénéficie d’un soutien du Conseil des arts du Canada.
An adaptation of Orwell's 1984 for stage, it was a great performance.
I am glad that I was able to attend this excellent rendition of Orwell's prophetic fantasy novel, 1984. Winston and Big Brother came alive at the Washington Center for Performing Arts in downtown Olympia. Members of the Los Angeles based Actors' Gang re-enacted the torturous journey of a 39 year old dissident within the absolute totalitarian society of Orwell's 1984. The book, where "War is Peace," "Freedom is Slavery," and "Ignorance is Strenth", and 2+2=5 is so apt and relevant to our current society. The prospect of perpetual war not only looms starkly upon our horizon; it has actually become our reality. Reading the book is great, but seeing the Actors' Gang's portrayal of the two-minute hate was fantastic. It's too bad if you missed it. Although the performance was well worth the ticket price, it's too bad that more seats weren't made available at a more affordable rate; $30 for the cheap seats seems like a lot, especially for a performance like 1984, which bears such striking relevance for those who suffer from chronic economic depression (as well as for those who are simply unable to afford it).
from the book:
"The primary aim of modern warfare (in accordance with the principles of doublethink, this aim is simultaneously recognized and not recognized by the directing brains of the Inner Party) is to use up the products of the machine without raising the general standard of living. Ever since the end of the nineteenth century, the problem of what to do with the surplus of consumption goods has been latent in industrial society...
"...it was also clear that an all-round increase in wealth threatened the destruction — indeed, in some sense was the destruction — of a hierarchical society. In a world in which everyone worked short hours, had enough to eat, lived in a house with a bathroom and a refrigerator, and possessed a motor-car or even an aeroplane, the most obvious and perhaps the most important form of inequality would already have disappeared. If it once became general, wealth would confer no distinction. It was possible, no doubt, to imagine a society in which wealth, in the sense of personal possessions and luxuries, should be evenly distributed, while power remained in the hands of a small privileged caste. But in practice such a society could not long remain stable. For if leisure and security were enjoyed by all alike, the great mass of human beings who are normally stupefied by poverty would become literate and would learn to think for themselves; and when once they had done this, they would sooner or later realize that the privileged minority had no function, and they would sweep it away. In the long run, a hierarchical society was only possible on a basis of poverty and ignorance...
"...Nor was it a satisfactory solution to keep the masses in poverty by restricting the output of goods. This happened to a great extent during the final phase of capitalism, roughly between 1920 and 1940. The economy of many countries was allowed to stagnate, land went out of cultivation, capital equipment was not added to, great blocks of the population were prevented from working and kept half alive by State charity. But this, too, entailed military weakness, and since the privations it inflicted were obviously unnecessary, it made opposition inevitable. The problem was how to keep the wheels of industry turning without increasing the real wealth of the world. Goods must be produced, but they must not be distributed. And in practice the only way of achieving this was by continuous warfare.
"The essential act of war is destruction, not necessarily of human lives, but of the products of human labour. War is a way of shattering to pieces, or pouring into the stratosphere, or sinking in the depths of the sea, materials which might otherwise be used to make the masses too comfortable, and hence, in the long run, too intelligent. Even when weapons of war are not actually destroyed, their manufacture is still a convenient way of expending labour power without producing anything that can be consumed. A Floating Fortress, for example, has locked up in it the labour that would build several hundred cargo-ships. Ultimately it is scrapped as obsolete, never having brought any material benefit to anybody, and with further enormous labours another Floating Fortress is built. In principle the war effort is always so planned as to eat up any surplus that might exist after meeting the bare needs of the population..."
It's a great book. Read George Orwell's 1984.
Quotes courtesy of the program (The Actors' Gang 1984 Program [pdf]):
All the war-propaganda, all the screaming
and lies and hatred, comes invariably
from people who are not fighting.
~ George Orwell
Every war when it comes, or before it
comes, is represented not as a war but as
an act of self-defense against a homicidal
maniac.
~ George Orwell
The first casualty when war comes is
truth.
~ Hiram Johnson
In a time of universal deceit - telling the
truth is a revolutionary act.
~ George Orwell
The very concept of objective truth is
fading out of the world. Lies will pass
into history.
~ George Orwell
All war is deception.
~ Sun Tzu
War against a foreign country only
happens when the moneyed classes
think they are going to profit from it.
~ George Orwell
The most tyrannical governments are
those which make crimes of opinions, for
everyone has an inalienable right over his
thoughts-- nay, such a state of things
leads to the rule of popular passion.
~ Benedictus de Spinoza, from
Theological-Political Treatise
War is a way of shattering to pieces...
materials which might otherwise be used
to make the masses... too intelligent.
~ George Orwell
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
b.a.l.m. WHITE SHOW the traveling art exhibit is being shown at Hausmann Millworks in conjunction with Contemporary Art Month (CAM) and Luminaria from March 5-April 30, 2010
Photograph ©2010 John Karlis Used with Permission - John and Darin unload Lance Cheney's "White Brush 1"
FILE MAGAZINE VOL 4 NO 2 (FALL 1979) alternative to the Alternative Press, legendary Toronto collaborative General Idea's FILE Megazine – published from 1972 to 1989.
FILE magazine Fall-1979 General Idea -LIMITED ED. Art Publication-VERY RARE
General Idea: FILE megazine, vol 4, issue 2, fall 1979 (the “Special Transgressions” issue), edition of 3,000 copies.
FILE MAGAZINE VOL 4 NO 2 (FALL 1979). Toronto: General Idea, 1979
35 X 27.5cm, 66pp plus pictorial wrappers. A single number from General Idea's art periodical where the trio published conceptual, mail and intermedia art including the GI's own work - often with a homoerotic element. This number has GI's "Billy wears a moustache at the Colour Bar Lounge" and several articles on/by David Byrne, Stephen Lack, Jean Genet, Jimmy DeSana,Kathy Acker and Robert Mapplethorpe. One slight crease on the front lower-right corner and spine wear and, as ever, browned internal newsprint pages else VG+. Scarce.
1979
FILE Megazine ("Special Transgressions Issue," Vol. 4, #2, fall 1979)
The first issues of FILE, the publication launched in April 1972 by the Toronto-based group General Idea (comprising artists AA Bronson, Felix Partz, and Jorge Zontal), leave a different, less sober impression than previous magazine-based Conceptual art projects. Lifting its name and logo from the most famous (and popular) postwar US glossy, Life, FILE clearly anticipated a strategy that today is an everyday youth-cultural ploy: namely, logo-busting, an ironic game with the powerful markers of consumer culture, a small act of semiotic subversion whereby one borrows power from the public side of capital--and momentarily uses it against itself.
For the better part of a century artists have been using the format of the periodical to create and disseminate their work. Yves Klein’s Leap Into the Void, another iconic work, was published in the artist’s broadsheet publication Dimanche, which was sold at Parisian newsstands in 1960. Artists' magazines were integral to numerous important movements, such as Conceptual Art, Mail Art, Performance Art, Intermedia, Concrete Poetry, Neo-Dadaism and Fluxus.
The name Fluxus was originally coined by George Maciunas for the title of a magazine of experimental notation that he had hoped to produce.
For the uninitiated, a simple distinction suffices: the “artist periodical” is a primary source and an “art magazine” is a secondary one. That is to say, whereas an art magazine features reproductions and documentation of artwork as illustrations, the artist periodical is an alternative site for the realization of art works rather than their review.
This is a historic photo of the Apollo 11 launch that sent a man to the moon. The Apollo project, and its intersection with the civil rights movement, is the theme of Nancy Keystone's World Premiere Apollo, playing at Portland Center Stage January 13 to Feb 8, 2009.
The performance "FEiL© produkter - wrong© products",OUTSIDER performance series for 2visual4arts
Sawing the burka at Røros, South Trøndelag
photo: N. Noer
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
From the workshop production of Apollo part two at the Center Theater Group: Ensemble members perform within an ever shifting arena of boxes full of files, data and detritus from the Apollo project in Nancy Keystone's World Premiere multimedia exploration of the intersection between the space race and the civil rights movement in Apollo, blasting off at Portland Center Stage January 13th through February 8th, 2009. Tickets, blogs, info and more at www.pcs.org.
Photo by Efren Delgadillo, Jr.