FEBRUARY 1 - FEBRUARY 28, 2011
Carrie Ahern Dance creates hyper specific worlds that are complete in their lush layering of visual, kinesthetic and aural textures. The work is architectural in the rhythm created through repetition, precise timing, and the tension within negative space. The often deceptively simple movement poses questions about the complex nature of being human. The audience is called upon to participate viscerally and emotionally in the world. This allows the work to cast its potent spell.
Carrie Ahern, whose work is called “striking and original” by The New Yorker, is an acclaimed independent dance and performance artist who has been based in New York City since 1995. The critically acclaimed Sensate (a three hour dance installation) premiered in November 2009 on two floors of the 100-year old former bathhouse, The Brooklyn Lyceum. Also in 2009, Covers, Ahern’s performance installation and collaboration with sculptor Olek, visible only behind glass, completed 3 September weeks of evening rush hour performances for The LAB, a storefront gallery in Midtown Manhattan.
She has had a number of commissions for her work including Danspace Project for The Unity of Skin (2008) and Red (2006)—also commissioned by the Guggenheim for Works-and-Process. In 2003 Bessie award winning dancer Carolyn Hall commissioned a solo with music by Grammy award winning musician Matt Darriau and Ivan Goff. Jeffrey Frace’ (formerly of Anne Bogart’s SITI company) has commissioned a solo to premiere in New York and Seattle in 2010/11.
Her shorter works have been presented at P.S.122, Dixon Place, Movement Research at Judson Church, Dance New Amsterdam, Chashama, and The Flea among others. Nationally and internationally, her work has been presented at Baltimore Theatre Project, Danceworks and Walker’s Point Arts Center in Milwaukee, Le Regard du Cygne in Paris and at the Festival OFF in Avignon, France. She was a BAX space grant artist in 2007/08, recipient of a Fractured Atlas’ Creative Development Grant; and was a 2009 recipient of an LMCC Swing Space grant.
Ahern has taught master classes in improvisation at the University of Wisconsin-Milwaukee, taught movement workshops for academics (originally developed in Stolzenhagen, Germany), been a guest speaker at NYU for philosophy classes in Spectacle; taught movement for actors at the School of Film and Television in NYC; and taught dance in the NYC Public schools. She has been a sought after teacher of Pilates and yoga since 2001.
'; var t_asimina_chremos = 'AUGUST 1 - AUGUST 31, 2010
Since childhood, Asimina Chremos has brought playful curiosity and incisive intelligence to her exploration of dance as a creative practice, lifestyle, career and evolving philosophy. Approaching dance as art, she creates abstractions, narratives and kinetic sculptural forms across stages, studios and spaces of all types and sizes. Recent projects include daily dance vlog CircadianDancer; site specific performances as microgig with cellist Fred Lonberg-Holm; and Echo Den, a sound-and-movement duo with vocalist Carol Genetti. A resident of Chicago for the past dozen years, the Space Available residency initiates a period of travel and exploration for Chremos, with a new home base in Durham, NC (close to family members).
'; var t_mimi_allin = 'APRIL 1 - MAY 31, 2010
A. K. “Mimi” Allin (The Poetress at Green Lake) crafts experiences that provoke the collective imagination and profoundly affect the local environment. She's known for her hard-driving, unsanctioned, ritual-based style. Relying on invention to draw artists and communities together—herding fresh eggs across a farm, spreading a fishing net out in a desert town, melting a hole in a 300-lb block office and cutting a labyrinth in a lawn—she transforms public spaces into shared memories. In January 2010, she became the nation’s first corporate poet, completing a month-long residency at NBBJ in Seattle. Allin has an insatiable passion for curating. In 2009, she asked 100 poets to recline on The Grand Staircase in the Seattle Art Museum and whisper poetry. She collaborated to make a bronze commemorative plaque for the Fremont Lenin Statue and used a pilot group of poets to “see” an art exhibit for a blind musician, who then prepared an original composition in response to their words. Allin curates a monthly life drawing session for writers, Write to Move, featuring movement by award-winning performance artists every 2nd Friday at The Phinney Center. Allin’s singular goal is to challenge herself and those around her to live more fully.
http://corporate-poet.blogspot.com/
http://thepoetessatgreenlake.blogspot.com/
JANUARY 1 - JANUARY 31, 2011
Jeffrey Huston is a Seattle based guitarist, composer and improvisor. Most recently, he collaborated in the creation and performance of Degenerate Art Ensemble's "Sonic Tales," which premiered at Seattle's Moore Theater Halloween weekend, 2009. He has created and performed scores to accompany choreography by Amelia Reeber, Paige Barnes, John and Anna Dixon, Peggy Piacenza, Northwest Dance Syndrome and Alia Swersky. He is currently exploring the expressive potential of sound in a variety of contexts including the group Dead Hot, as well as his own investigations in song writing and software based instrument design and implementation. Jeff holds a Bachelors of Music from Cornish College of the Arts. Find out more at www.jeffreyalanhuston.com.
'; var t_betty_jo_costanzo = 'FEBRUARY 1 - MARCH 31, 2010
Betty Jo Costanzo.
Painter. Video artist. Sound mapper. Performer. Author. And more.
Born in Sacramento CA, and has lived and worked on both coasts of the USA, Brazil, Italy, Spain, Cyprus, and the UK.
Betty Jo approaches every project with very few assumptions about what has to be included; random passages from Dante’s Inferno, an image memory from the mosaics throughout the chapel nave in Ravenna, the sounds of a train, birds passing thru the lens of the video camera. Ms Costanzo’s art has been described as “getting lost with a purpose” and often conveys the “acceptance of humanity”. Her works can be seen in corporate and private and public collections across the world.
Currently she is preparing for a two month residency in Seattle at PROJECT: Space Available February 1 thru March 31, 2010. During the residency, she will be creating projects that invite public speculation, input, even collaboration, and in the final month producing and staging a number of installations and live performances intended to include and reach new segments of the arts community and the public at large.
If you would enjoy a fresh use of your own senses, come and see!
http://www.bettyjocostanzo.com
NOVEMBER 1 - NOVEMBER 30, 2010
We are Anne Sophie Malmberg (DK), painter and illustrator working in Berlin and Copenhagen. Annika Nilsson (S), stage designer working with theater and exhibitions in Copenhagen. Johanna Chemnitz (D), dancer and choreographer working in Berlin.
We started working together at the Ponderosa Artist Exchange in 2008 and again in 2009. We created the short films "Stolzenhagen Princes 1-3" and were researching and experimenting on our work there. Now we are looking for spaces and support that allow us to go further in this and for places to present our work.
In our work we find ourselves overlapping each others fields. We cross the borders set between our working fields as we form expressions. As a whole, our work is based on working more as free artists without role limitations while still keeping our art form specific knowledge.
We are working with different media like film, photography and performance, including drawings, sculpture, text and sound.
Our installations can be a mix of all of those media at times, and at other times we concentrate especially on one of them.
Our work is always site specific in the sense of that we let the surrounding influence the creation in using its characteristics. It can be placed in a landscape, a theatre, a gallery, a flat, in public places.
We would also like to go on with the "Secretary Birds" project which we started working on this summer 2009 in Stolzenhagen. In this we created a space with yarn and furniture in the middle of a forest and took videos of us improvising with movement and tools there. As well we invited the public into that space in order to improvise in it and with what we created and prepared for them. We thought about structures that might inspire the public and guide them into improvising with it.
The "ingredients" we mostly include and further want to experiment with are plants, yarn, body, animals big and small, paper, fabrics, wood, furniture, and others.
Coming ingredients are: vaccuumcleaner, organs, toasters and hedges.
Links to our films:
MARCH 1 - MARCH 31, 2011
Emily Davidson and Susan Wolf are a new collaborative team of artists currently hailing from Halifax, Nova Scotia. In 2009, both Emily and Susan received a Bachelor of Fine Art from the Nova Scotia College of Art and Design. These two artists share a mutual interest in community based art projects and lake swimming.
'; var t_marissa_niederhauser = 'SEPTEMBER 1 - OCTOBER 31, 2010
Marissa Rae Niederhauser (Josephine's Echopraxia) is the owner/operator of 100+ pounds of precision-calibrated dancing flesh. She believes that motion and noise are perhaps the only salvation in this torrential life and has dedicated herself to the constant pursuit of such. More at http://marissaniederhauser.blogspot.com/
'; var t_graphomania = 'JUNE 1 - JULY 31, 2010
Who is GRAPHOMANIA[1]? We are the team of Vanessa DeWolf & Mônica Mata Gilliam.
We have been suffering in madness since the moment we learned to write in cursive[2].
Perhaps you'd like a description of our symptoms...okay here goes: Not always decipherable relationship to the actions of handwriting and in particular cursive that is quickly vanishing. Sometimes it is the desire to write correspondence, sometimes it is the impulse to relearn the way a cuneiform is made, sometimes we write over and over and over. What would happen if time and space and performance were given for the full range of our investigations of calligraphy? Come read our performances. Come translate our transcriptions. Writing in performance, the performance of writing, the communication of writing, the codes of writing, the exchange of thought and word through our handwriting, the silence of words, the visibility of writing, the movement of writing, does it make meaning?
[1] Graphomania is a compulsive urge to write also writing insanity. When used in a specifically psychiatric context, it labels a morbid mental condition characterized by the writing of long successions of unconnected meaningless words.
[2]Monica actually began her obsession with penmanship when she knew she was going to learning how to write in cursive.
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