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dealings with architecture and dialectics materiality architecture theory the deconstructive, the constructive, the pathological, the parasitic, the downright political AND "my work is site-specific to your lower intestines" PLUS what is the structure of structures?
POST-DANCE WORKS BY:
Li/cata and Ciar/pella Alex Rodabaugh Millie Kapp Lorene Bouboushian/Kaia Gilje/Valerie Kuehne
Co-curated with Li Cata
The term "post-dance" belongs to Lindsey Drury, who gracefully lets us borrow it now and again.
******BIOS and LINKS********
Li Cata is a dance artist and arts organizer. Li loves cooperation, struggle, compromise, and conflict. Hell is no other people. http://cargocollective.com/licata
Alex Rodabaugh is a dancer, dance maker, and performer. Most recent work: www.g1br33l.info
Millie Kapp is a performance artist living and working in New York. She received her MA in Performance Studies from New York University and BA in Visual and Critical Studies from School of the Art Institute of Chicago. Kapp has presented her work in Oakland, Chicago, Minneapolis, Toronto, and New York and participated in artist residencies around the US. Kapp also teaches performance-based classes and workshops and has done visiting artist lectures at Maryland Institute College of the Arts, the University of Chicago and Stony Brook College. Though her performance work is primarily dance-based, her work crosses disciplines incorporating video, sculpture and text. Kapp is also a writer and curator and has curated performance events in Chicago and New York.
Lorene Bouboushian: "I was born to an Armenian father from Lebanon and a probably Irish mother from New Orleans in Corsicana, Texas. I lived near a pasture in a small house, and danced in studios and on a dance team, where I tied for Miss High Kick in 2005. I went to a wealthy liberal arts college in New York where everything about myself was thrown into relief. I studied with lots of wonderful people and made it to Ghana, where I spent hours on end at rituals, trying to figure out how life with possession, rhythm, and shared movement is. I came back to New York because the man on the subway whose nervous head tick, and the old Czech woman talking loudly about cancer on the phone hold a frenetic energy that fascinates me in a different way, and has for years. I still return to Texas and the sky and the flatness and the screwiness of rural life. I still remember Ghana. This range of moments make my work here. In my work, they collide with music that makes me tick, sounding and rhythm, intimacy and shock, absurdity and humor, and what it means to perform our silly, paltry, emotional selves (and perform others). These have led me to create solo works presented at the Judson Church, Ulla’s House, AUNTS, and the West End Theater. In 2011 I was the recipient of a Fresh Tracks Residency through New York Live Arts. More recently, I have become more interested in improvisation that suggests comedy and vaudevillian traditions while experimentally challenging what performance and improv are. This has led to performances at Panoply Performance Lab, Vaudeville Park, Grace Exhibition Space, Bizarre, the Delancey, Muchmore’s,Cage, and JACK (through the Brooklyn International Performance Art Festival). This research also contributes to my work as an independent teacher, through CLASSCLASSCLASS, La Universidad de Las Americas Puebla (Mexico), and with Wingspan Arts. All of my work has been informed by my experiences as a performer with luciana achugar, Melinda Ring, Kathy Westwater, Daria Fain, Lindsey Drury, and Panoply Performance Lab."
Kaia Gilje "We desire to break apart our selves, objects, situations, and movement into simple pieces in order to better see and feel existing and potential relationships. We also desire to join. As this happens we strain to listen to millions of buzzing, humming anythings and huge buzzings and hummings of nothings." (written with collaborator Paige Fredlund)
Valerie Kuehne is a cross-pollinated work of chaos. Fusing together music, performance art, narrative, and experimental curation, she has been told that, "if this music thing doesn’t work out, she’d probably make an awesome cult leader." (Boston Public Space). After moving to New York to study Philosophy at The New School, Ms. Kuehne has systematically bifurcated her time between touring the planet, performing in as many unexpected settings as possible, and building a community for experimental music and performance art in New York. Her series, The Super Coda, is an experimental cabaret that has united electrifying performers 5 years running. Ms. Kuehne’s work operates under principles of surprise, and investigates obsession, comedy, decay, forensic pathology, sex, hypnogogia, viscera, death. She created and composed for the ensemble Dream Zoo and is one third of the improvised music trio Prehistoric Horse and half of the duo Naked Roots Conducive. While she most frequently performs solo, she is an avid collaborator and has worked with many of NYC’s finest underground musicians and artists. She has spent much of the past year in collaboration with Natalia Barnatny Steinbach, and with Esther Neff and Brian McCorkle of the Panoply Performance Laboratory, percussionist David Grollman, accordionist and trapeze artist Matt Dallow, and grindcore violinist and incessant touring artist Joey Molinaro. She has curatorially joined forces on several occasions with PPL, IV Soldiers, composer and pianist Jonathan Wood Vincent, 109 Gallery, and the ongoing music and performance series Small Beast. In February 2012, she performed with outsider artist Jandek. There was once a time when she played cello for Billy Joel’s daughter. Ms. Kuehne performs "with a marathon persistence to rival B.B. King in his most energetic years" (New York Music Daily), She has been seen in venues such as Carnegie Hall, Webster Hall, Judson Memorial Church, Brigham Young University, the Stone, Highline Ballroom, the Berlin Zoologischer Garten, the NYC Subway. She has participated, as an artist and a curator, in international festivals such as the MPA-B, the experi-MENTAL festival, X-fest, the Boise Improvised and Creative Music Festival, the Sonic Circuits Festival of Experimental Music, and JazzPeru, Brooklyn International Performance Art Festival, to name a few. She is a curatorial fellow at PPL. http://www.valeriekuehne.com/
Nothing: a pregnant emptiness before the strike, a bowl waiting to be filled by something else, Alvin Lucier? this is your brain on ______, illness and invalids, oblivion, everything that exists in the buzzing of generators in the room. “The millions of buzzing, humming anythings and huge buzzings and hummings of nothings” (Fredlund and Gilje).
In the early evening hours (around 6-7:30) Lorene Bouboushian and Kaia Gilje will perform the room (PPL space really is just a room), context, situation: the nothingness of what is already there. Their work comes from the desire to deconstruct a performance situation, throwing the room, the performance setting, and the social milieu into relief. What has propelled us here speaks loudest and says nothing at all. At 7:45pm we will begin performances by Tatyana, Li, Adjua, and Luke, continuing until 11pm.
$5-15 suggested "pay-what-you-can" donations go directly to the artists.
Brooklyn Brews also available for a suggested donation. ★ʘ★ʘ★ʘ★ʘ★ʘ★ʘ★ʘ★ʘ★ʘ★ʘ★
Three post post post it all choreographer-dancers and their collaborators present ruthlessly conceptual, daringly dainty, and deliberately decisive dances.
◐◑____LAUREL ATWELL____◐◑ Laurel Atwell has been dancing and making dance in New York since 2008. She has performed for a wide variety of artists including Belinda He, Kirstan Clifford, and Patti Bradshaw. Atwell is a student of qi gong with Melanie Maar, poetry with Cynthia Cruz, and hosts a monthly supper club, BIG HOUSE. Her current piece, DOUBLE TAKE, features Atwell and Aya Sato strengthening their ESP abilities while Gordon Landenberger rearranges the space with his custom-made furniture. DOUBLE TAKE is currently being performed throughout the apartments, parks, studios, and backyards of New York. http://vimeo.com/user5785537
◐◑____KAIA GILJE____◐◑ Kaia Gilje has danced all over this city and many others. She's been in the NYTimes, worked with notable postdancers Lorene Bouboushian, Paige Fredlund, Lindsey Drury and many famous choreographers and in many respectable very real dance venues, etc etc, yet she has no written bio to be found anywhere on the internet. This is kind of situation only partially explicates why everyone loves her. http://www.movementresearch.org/blog/tag/kaia-gilje/
◐◑____ALLISON BRAINARD___◐◑ Allison Brainard: Born in Boston, Massachusetts. Lives and works in Brooklyn, New York Bard College, Studio Arts, Psychology BA http://cargocollective.com/allisonbrainard Followed by post post post funk dance party and sing-along. And discussion with the artists. $5-15 pay-what-you-can beer and wine for a suggested donation +++++++++++++++++++++++++ *Postdance was established as a term and as a concept during the Brooklyn International Performance Art Festival in July 2013 with a series curated by Lindsey Drury by this name. “Postdance” refers to dance-after-dance, and dance-influenced performance art (and vice versa). POSTDANCE, as a series, investigates the mysterious figure of the choreographer-dancer in the absence of definitions for "dance" and "performance art" as such. In the words of Allison Brainard, "what are they doing? what are they doing?"
This is the third exhibition in the POSTDANCE series at PPL. Part I featured TYKE dance, Rene Kladzyk, and Sura Hertzberg. Part II featured Emily Gastineau & Billy Mullaney, Samantha Johns & George McConnell, and Leslie Kelman.
A two-day exhibition of music and sonic art, hacked objects and electronic elements, voiceover and videotaped performance, performance art, and hybrid performance dealing with objectivity, subjectivity, and "Sobjectivity"****
DAY ONE: THURSDAY APRIL 25
Paige Fredlund and Kaia Gilje
DAY TWO: FRIDAY, APRIL 26
If you dare, leave your cell phone with us for the duration of this mini-fest. Set it to vibrate. We will hang these sobjects from the ceiling, subtly vibrating moons, commemorating the focus of performances past, present, future (anterior)
****"The Sobject exists in perpetual procedural loop: the ideal sobject is Dante's manturningsnaketurningman. The Sobject exists in perpetual substantive eclipse: more s/object by turns and degrees" --NOTES ON CONCEPTUALISMS, Vanessa Place and Robert Fitterman, Ugly Duckling Presse, 2013. p. 38 (7b.)
THE FEMINISM: ANOTHER INSTALLMENT OF WOMANITY'S DESIRE AND DEBATE. Live art. Come and take part.