work in progress: EMPAC commission

i’m finally posting some production images from the new project. i spent almost two weeks in residence up in Troy, NY with the wonderful EMPAC team lead by Ash Bulayev, along with my dear friends choreographer Kate Corby, DP Chapin Hall, and Assistant director James Francis Cerretani. as always, the cast and crew are all fantastic people. lucky bastard. we had a ton to get done, and we did it all. wish you could have been there.

for a few months now, i’ve been editing with the Jerrrs C-hance and Anne-Laure, and making all original sounds with forever Tim Korn at the Dungeon. i’m even singing! we’ve been sculpting the cut and going back and forth between the edit and sound composition. our timeline is a mess, and they want to kill me. stay tuned.

a couple of weeks ago we received a grant from the Ostrovsky Family Fund to make a three channel iteration of the project. we shot with three cameras, so we are all set to make you go cray. thank you, Ostrovsky ladies. you rock and once again you make wrong be right. molto danke.

Max Cosmo Cramer in (new title,yes!) WARD OF THE FERAL HORSES

Max Cosmo Cramer and Doug Barron in WARD OF THE FERAL HORSES

L. and R. aka Max and Doug

DANCERS:
Joanna Kotze, MCC, Brittany Engel-Adams, Or Reitman,
Cara Angela Liguori and Pascale Seigneurie (not pictured)

WARD OF THE FERAL HORSES

 

 

Is there a future?
I’ve been thinking about time often lately, especially since making the TYRANNY performance experiment. What is time, and why does it only move in one direction? Originally, I was interested in time because of its ties to production and capital. Being productive is a fucked up idea today. If you produce, then you are probably in the 99%, which means you get very little from this economic system.
[ i took these photos on sunday at the queens museum during a talk by photographer andew moore. capital and art—i have many thoughts on that, but for starters, read this article, UMBILICAL CORD OF GOLD, by my friend Eleanor Heartney on artnet ]
[ a detail from 'national time clock, former cass technical high school building, 2009'. most of the photos in this exhibition were taken in deteriorated parts of Detroit. see other great deteriorated Detroit photos in this blog, which also illustrates an issue with this kind of photography—someone else can come around and take the same picture/s. and what does that mean for novelty and value? ]

Time in English
one expression i find curious is ‘spending time’. in an economic system, an expense, or a reduction, is not a positive thing. why does ‘spending time with friends’ imply the disposal of time—a negative verb? if I want to resist capital and production (let’s hang out) then i should also aim to resist time.

from a sociological view point, the following Royal Society for the Encouragement of Arts (RSA) video by Professor Philip Zimbardo illustrates how the world divides into time zones, as well as religions, in a way that directly influences the terms of production. This is one way to explain why Germany has to bail out Greece and not vice versa, but it does not explain why the NY stock market sky-rocketed yesterday because of this news. National time is still very much off in this country, as well as in many other countries.

I’ve been reading László Moholy-Nagy’s book, and one idea that resonates with me, is that art should offer a new view of the world by creating relationships between familiar and unfamiliar objects. You can substitute this statement with clarity and abstraction, and that’s what I chose to explore in comp class on Wednesday. we experimented with different degrees of clarity (never illustrating) and created movement that was rooted in an action or a subject that held meaning for the students. I worked with each student individually, and the range of the experiments was fascinating. I love dance for its ingrained collaborative qualities, and for the openness to explore multiple movement languages.
[ László Moholy-Nagy, Lightplay, film still, 1930 ]

Back to Moholy-Nagy. I forgot that I downloaded an iphone app months ago dedicated to his exhibition at Gemeentemuseum Den Haag. get it, it’s free. and check out the film Lightplay (in the app) from 1930, which he made using a light machine. here’s a lame ass soundless version on youtube if you must. such a beautiful exploratory of textures, light and shadows.
[ László Moholy-Nagy, photogram, 1938 ]

Moholy-Nagy thought of work that presented an already existing reality such as photographs representing reality, as reproduction. did you say paintings made from photographs? exactly.

opening night

Here are some more shots from Corby’s dance, In Whole or in Part, which opened last night at the University of Wisconsin at Madison. I made the video for the dance. After the premiere, Kate, the dancers and myself participated in a panel discussion about our collaborative process.
[ Mikey Rioux and Erin Kilmurray ]
Kate describes the initial reference for this dance as the UN definition of genocide “…intent to destroy in whole or in part, a national, ethical, racial or religious group”. the dance itself is far from being an illustration of this theme. rather, it creates an atmosphere and a space in which relationships develop between performers to expose related ailments. for Kate, this is an invitation for the audience to actively participate in the work. she considers the dancers and audience members as collaborators—an act which she refers to as both aesthetic and political.
a solo with Anna Normann:
Kate Corby & Dancers company + UW students/dancers:
Anna Normann and Emily Miller:
post show
one place to permanently carry your favorite puccini soprano aria is between your fingers. vissi d’arte on the fingers of dancer Janelle Bentley + magenta nail polish and glitter + strawberry margaritas. Janelle and Shoshi (between cup and pitcher) were recruited to the Kibbutz dance company this week. if marxism failed, then let us dance!