The artist's sophisticated practice continues to operate metaphysically, alchemically, poetically, conceptually, synthetically and even politically, by exploring
the boundaries of human identity and body, and how it is given form and potential meaning via process, time, and action.
Among the highlights
of its first eight years are: Bernd Alois Zimmermann's harrowing Die Soldaten, in which the audience moved «through the music;» the unprecedented six - week residency
of the Royal Shakespeare Company in their own theater rebuilt in the drill hall; a massive digital sound and video environment by Ryoji Ikeda; a sprawling gauzy, multi-sensory labyrinth created by Ernesto Neto; the event
of a thread, a site - specific installation by Ann Hamilton; the final performances
of the Merce Cunningham Dance Company across three separate stages; the New York Philharmonic performing Karlheinz Stockhausen's sonic masterpiece Gruppen with three orchestras surrounding the audience; WS by Paul McCarthy, a monumental installation
of fantasy, excess, and dystopia; a sonic environment that blurred the
boundaries between artist and audience created by the xx; an immersive Macbeth set in a Scottish heath and henge by Rob Ashford and Kenneth Branagh; tears become... streams become..., a genre - defying collaboration between artist Douglas Gordon and pianist Hélène Grimaud, which flooded the Armory's drill hall with an installation
of water, light, and music; and HABEAS CORPUS, a performance and installation by Laurie Anderson based on the story
of a former Guantanamo Bay detainee that examines lost
identity, memory, and the resiliency
of the
human body and spirit.
In her practice, she tests the
boundaries of «
human minimality» in terms
of the fragility and ephemerality
of our bodies and employs the experience
of the uncanny as the catalyst for conversation, creating complex virtual
identities.