[itmoves2]

Quiet Landings

Grupo Corpo, the Brazilian contemporary company, gave one performance in Austin, sandwiched by stops in Minneapolis and New Orleans, and between engagements in New York City and Europe. I can imagine that these one-nighters blur together for the members of the group, distinguishable only by hotel and theater amenities and the receptiveness of the audience. But for Austin audiences, who have had the opportunity to see the company once every few years since 2008, thanks to programming by the University of Texas, each of these rare performances is distinct.

[nypl]

What happens when you unleash #CamerasAndDancers in our Library for the Performing Arts? This.

[itmoves2]

“We invite you to stay for a post-performance conversation”—these are dividing words. After a recent performance, all but one of my seatmates—several friends and acquaintances—decided against staying. I wavered for a minute as I considered keeping my friend company and the possibility of hearing the choreographers and performers discuss their processes, inspirations, and attachments—all interiors that I love. But in the end I joined the exodus, citing my own rule not to attend post-performance talks for shows I am reviewing, in service of my oxymoronic goals of maintaining objectivity and developing a singular, personal response to the work. A couple of days later, I solicited an email report from my friend who stayed, and it was bleak.

http://www.fjordreview.com/the-talk/

[theparisreview]

I like the sound of facts, but I don’t care about them as facts. I like them as texture.

Kay Ryan, The Art of Poetry No. 94 (via theparisreview)

[itmoves2]

At one point in the piece, Lincoln actually did get showered with glitter. Keigwin’s program notes suggest that the work has to do with creating one’s own individual glitter garden, as “a nonlinear story of nurturing your authentic being.” Unfortunately, in the United States, we have a problem of allowing the people in the places where these gardens are cultivated—schools, churches, clubs—to be mowed down with bullets.

http://www.fjordreview.com/glitter-garden/

[itmoves2]

The three members of line upon line – Matt Teodori, Adam Bedell, and Cullen Faulk – performed around and among the dancers, making use of drums and bells as well as sand, which poured from paper cones into buckets, and bamboo wind chimes and weather vanes set in motion by electric fans. Dancers Alyson Dolan, Lisa del Rosario, and Nathan Brumbaugh didn't meet with them until the performance week, and the show had a spontaneous, fresh vibe on opening night. Although the work wasn't improvised, it was invigorated and invigorating, having an aura of equal parts midcentury jazz club and digital-age maker studio.

http://www.austinchronicle.com/arts/2016-04-29/andrea-ariel-dance-theatres-lumen/

[itmoves2]

What do gestures become when stripped of their in-the-moment communicative purposes? South American choreographer Luis Garay borrows the word “maneries” from Italian philosopher Giorgio Agamben, who, in his book The Coming Community, analyses the word’s etymology and comes to a conclusion that is mirrored by Garay’s program notes on the dance: “Maneries’ r­efers to neither a universal nor a particular; it embraces both, like an example.

http://www.fjordreview.com/luis-garay-maneries/

[itmoves2]

South of Ben White Boulevard, behind a little house, is a converted barn that artist Magdalena Jarkowiec shares with her husband, a contractor. His half is stocked with tools and lumber, while hers is fitted with cloth-covered tables, two sewing machines, two person-sized plastic bags filled with polyester stuffing, and fabrics in various stages of construction into humanlike figures, body parts, and a television. Resting in the middle of one table, next to the iron, is a cantaloupe-colored penis.

http://www.austinchronicle.com/arts/2016-03-04/magdalena-jarkowiecs-us-kids-are-alone-in-the-house/

[itmoves2]

Only Bowie

Long lost 1995 Austin compilation wields a license to freak

I just love this so much.

[itmoves2]

Listen/purchase: The Bell Jar by Sylvia Plath

[itmoves2]

Notes from DanceAbility workshop, May 2015

[itmoves2]

[itmoves2]

[itmoves2]

What makes us unique is not what we reject . . .

Ohad Naharin, interviewed by Michael Langlois in Ballet Review, summer 2015.

[hyperallergic]

Editor’s note: Kim Gordon, one of the co-founders of the indie rock band Sonic Youth, currently has an art exhibition on view at 303 Gallery called Design Office: The City Is a Garden. The following is a response to the show composed entirely of lyrics from Sonic Youth’s influential 1988 album, Daydream Nation.

A Poetic Response to Kim Gordon’s Art Using Only Sonic Youth Lyrics

[itmoves2]

Remix response.

[artruby]

Robin Rhode at Lehmann Maupin.

[itmoves2]

Ghost bike hilt

[itmoves2]

Gotta let this one go. Copyright 1957 by Dance Magazine.