Sentences with phrase «as choreographic»

Andrea Weber, formerly a dancer with the Merce Cunningham Dance Company from 2004 to 2011, introduces participants to Cunningham's techniques and chance procedures as choreographic tools.

Victoria Eleanor Bradford is a Louisiana - born, Chicago - based choreographer and visual artist whose structured improvisations take shape as experimental dinner parties, site - specific dance films, football training manuals used as choreographic instruction, and dancers translating words into a kind of gibberish performance language.

This 456 - page volume, published in conjunction with the Walker Art Center and MCA Chicago's exhibition, reconsiders the choreographer and his collaborators as an extraordinarily generative interdisciplinary network that preceded and predicted dramatic shifts in performance, including the development of site - specific dance, the use of technology as a choreographic tool and the radical separation of sound and movement in dance.

Not exact matches

It uses a wide array of choreographic elements such as contrasts between square lighting patters and fluid, circular movement; unison movement and individuals breaking out of it; everyday movement and expressive, intimate moments.

Justin Chang of the L.A. Times calls it a «blast of pure, unfiltered rage aimed in Russia's general direction,» made more powerful by Loznitsa's technique of using long takes that speak to the director's «persistence of vision,» which results in an «astonishing technical and choreographic achievement,» as well as a «powerfully moral one.»

In Madison Square Park, Josiah McElheny's sculptural installation serves as a backdrop for choreographic works by Rashaun Mitchell, Silas Riener, Netta Yerushalmy and others.

It begins with her early choreographic works and pioneering video performances, such as the Organic Honey series, and culminates with her most recent piece They Come to Us without a Word, which was presented in 2015 at the Pavilion of the United States for the 56th edition of the Venice Biennale, and will premiere in North America at DHC / ART.

Recent works focus on an improvisational approach to choreographic thought and ways of structuring bodies as they fall out of relation aesthetically and spiritually while still locating ways of being together.

Following his March homecoming at the 20th Biennale of Sydney, Berlin - based choreographer Linder will continue his «Choreographic Services» series — begun in 2013, in which he offers choreographic performance as a service for hire — in commissions from Berlin toChoreographic Services» series — begun in 2013, in which he offers choreographic performance as a service for hire — in commissions from Berlin tochoreographic performance as a service for hire — in commissions from Berlin to Los Angeles.

Expect, too, a rolling live programme of «choreographic and discursive events», which recently kicked off with a day of interviews — as one might expect from the ever - inquisitive Obrist — and performances.

How Cunningham transformed postwar culture through collaboration Renowned as both choreographer and dancer, Merce Cunningham (1919 — 2009) also revolutionized dance through his partnerships with the many artists who created costumes, lighting, films and videos, and décor and sound for his choreographic works.

They are both invested in art's revolutionary possibilities for social change as evinced in Rainer's anti-war protest dances in the 1970s and the feminist dimensions of her radical choreographic style and films, as well as in Pendleton's Black Lives Matter flag for the Belgian Pavilion in the 2015 Venice Biennial and his latest series of paintings entitled Untitled (A Victim of American Democracy), which debuted this past summer as part of Edwards» Blackness in Abstraction exhibition at Pace Gallery and are now on display in Pendleton's first show with Galerie Eva Presenhuber, Zurich named Midnight in America.

Her choreographic work, Run Mary Run, was on The New York Times» list of Best Concerts for 2012 and was most recently performed as part of Jason Moran and Alicia Hall Moran's BLEED at the 2012 Whitney Biennial.

The most ambitious of his choreographic «services» to date, No. 5: Dare to Keep Kids Off Naturalism extends for fifty hours across ten days as four performers occupy the SLG's main gallery, utilising modular costumes to create ever - changing fictive situations that reconsider the relationship between their theatrical sensibility and the exhibition space.

The project manifests in an interstitial space between performance, artist lecture, and participatory sculpture, engaging the recipe as a type of choreographic instruction and record of historical and cultural significance.

His work reflects upon the limitations and awe - inspiring possibilities of man as machine, where subtle «imperfections» in the final drawings reveal the intervention of human presence in an otherwise mathematically precise choreographic gesture.

The kind of dancing, choreographic translation of this method is vivid in works such as Spugne (1969), where single then paired ochre sponge prints jump up the left - hand margin of the page and across the top, like the exuberant hopping game of a child or the play - fighting of a young pup.

So, continuing in the tradition of the Fluxus boxes containing materials for actions and the «dance capsules» that preserve Merce Cunningham's choreographic work, this box originated as a question: How do we think beyond objects, to collect and archive nontraditional art practices?

The term Light Ballet can be taken literally: as a light «dance» in a specific order and «choreographic» sequence, more or less improvised according to the sound, which is inserted as a guiding beam -LSB-...] I attempt to give the Light Ballet the naturalness that breathing in and out has for the man who is alive.

It can be read as an early indicator of her need to impose a limiting framework upon herself — in this case an imagined box — but the score also connects her choreographic work to concurrent visual arts practices.17 Locus» gridded demarcation of the cube echoes any number of contemporary works, such as Robert Barry's sketches for wire installations and Mel Bochner's Measurement Room (1969), for which the vertical and horizontal dimensions of a room were inscribed directly onto the walls of the space, drawing attention to the physical characteristics of the gallery itself.

With the ground - breaking performance ensemble at its core, ongoing initiatives like the Summer Leadership Institute (SLI), BOLD (Builders, Organizers & Leaders through Dance) and the developing Choreographic Center, UBW continues to affect the overall ecology of the arts by promoting artistic legacies; projecting the voices of the under - heard and people of color; bringing attention to and addressing issues of equity in the dance field and throughout the United States; and by providing platforms and serving as a conduit for culturally and socially relevant experimental art makers.

As atypical authors of choreographic stories, the artist duo departs from the conventional stage, venturing into other fields of representation while exploring indeterminate and arbitrary spaces.

Collaboratively, participants considered the points of convergence between museums and contemporary performance, in search of answers to the question, «What if an art collection were treated like a musical or choreographic score — existing both as a historical document and as the material for an interpretive performance that could be played at any moment?»

The exhibition shows his desire and ambition to establish a modern theatrical and choreographic art through his manifesto - work, the «Triadic Ballet», but also through the Bauhaus performances and dances, or his staging of works by important composers, such as Igor Stravinsky or Arnold Schönberg.

The suit was so heavy that Blake could hardly move as he took choreographic directions from Horvitz offstage.

This includes photography and many films — including the forthcoming documentary, Linda Karshan, Choreographic Page, by Ismael Annobil of Stonedog Productions; a group of 4 short films from Dresden by Harald Schluttig; the seminal film by Candida Richardson, Movements and their Images; and the acoustic drawing, «Soundings» as Karshan drew during one day in her London Studio.

Since graduating in 2011, she has produced many choreographic productions in a collaborative project known as Fluct as well as solo.

The artist — who was born in Tbilisi, Georgia and now resides in New York — produces complex sculptural installations, which bring together a wide variety of forms — shifting, rearranging, dislocating, and transforming these diverse materials through their combination.There is a strong choreographic impetus evident in both the making, and the positioning of her work, which allows new and different sides to become visible as one walks around it.

Renowned as both choreographer and dancer, Merce Cunningham (1919 — 2009) revolutionized dance through his partnerships with dozens of artists who created costumes, lighting, films, music, and décor for his choreographic works.

based upon her personal observations gleaned from a visit to petitioner's club, as well as her review of the dances depicted on the Nite Moves DVD entered into evidence at the administrative hearing and her interviews with certain of the club's dancers, the expert opined that «the presentations at Nite Moves are unequivocally live dramatic choreographic performances.»