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Correspondance (Morphology)
2020
Exhibited as part of the exhibition Akis/Flux at Sakip Sabanci Museum, Istanbul, Turkey.
Commissioned by the Marina Abramovic Institute and Sakip Sabanci Museum.
Further support from the Hessische Kulturstiftung, Germany.
Long-durational Live Performance
Duration: 144 Hours (Performed six hours daily, across four consecutive weeks) -
Correspondance (Contact)
Correspondance (Contact) and Correspondance (Touch) is a choreographic work in two parts: a corresponding video and live performance. An exercise in crossing thresholds, the choreography – both live and on screen – occurs amongst a constellation of co-protagonists: two performers move through and are moved by their surroundings on a moment-by-moment basis, triggered through a collective becoming-with ebbs and flows while occurring through a co-constitutive manner. Together in interplay with natural elements (light, shadow, water, etc.) the choreography unfolds as an entangled process of becoming-with one another. Through processes of attunement, correspondence, contagion and contact, the performers trace qualities of force, breath and flow in vibration – reorganizing, shape-shifting and boundary-probing the patterns of a potential new becoming. Experimenting with variable morphologies of co-presence, Correspondance attempts to create an encounter of rethinking a mutual field of potential relations in a shared, mutually affective field of resonance.
2019
Produced for 1000 Ecologies at Le Commun, Geneva
Supported by Utopiana, Geneva4K Video – Single channel video projection
Video duration: 24 minutes on loop
Correspondents: Murat Adash & Lucie Eidenbenz
Cinematography: Arturo Bandinelli & David Huwiler
Sound design: Alyssa Moxley
Produced by: Utopiana -
Correspondance (Touch)
Correspondance (Contact) and Correspondance (Touch) is a choreographic work in two parts: a corresponding video and live performance. An exercise in crossing thresholds, the choreography – both live and on screen – occurs amongst a constellation of co-protagonists: two performers move through and are moved by their surroundings on a moment-by-moment basis, triggered through a collective becoming-with ebbs and flows while occurring through a co-constitutive manner. Together in interplay with natural elements (light, shadow, water, etc.) the choreography unfolds as an entangled process of becoming-with one another. Through processes of attunement, correspondence, contagion and contact, the performers trace qualities of force, breath and flow in vibration – reorganizing, shape-shifting and boundary-probing the patterns of a potential new becoming. Experimenting with variable morphologies of co-presence, Correspondance attempts to create an encounter of rethinking a mutual field of potential relations in a shared, mutually affective field of resonance.
2019
Produced for 1000 Ecologies at Le Commun, Geneva
Supported by Utopiana, GenevaCorrespondents: Murat Adash & Lucie Eidenbenz
Light design: Alessandra Domingues
Videography: Jeff Vercasson
Photography: Neige Sanchez -
Similitudes – A Duet
Similitudes – A Duet is an exercise in proximity and distance. The choreography occurs as an experiment amongst a dancer and her setting, set against a rhythmic light alternating between lightness and darkness. Through a game-like structure, the dancer invents rules and systems, both choreographed and contingent, predictable and unpredictable, as ways to measure the shared space – calling into question the boundaries of the self. The movement unfolds in a constellatory flash – a sudden, ephemeral coming-to-appearance – testing out the process of mirroring and the capacity to assimilate to see how similarities crop up and disappear. Extending movements both out of and back into the body, the dancer measures relationships of alternation, overlap and unison through the threshold of darkness. The immersive hold of darkness, which blurs the boundaries of the bodies in space, evokes a dialectics of seeing, in which subjects become fused for a brief moment, like in a flash. As the rhythmic cycle is repeated, awareness expands. Through organizing and accumulating recognizable structures and shapes, the dancer channels gestures and geometries of resemblance, correspondence, similarity and difference to illuminate a situation.
2018
Performed at Mountain of Art Research, LondonLive Performance
25 Minutes
Performer: Maria Da Luz Ghoumrassi
Cinematography: Ariel Artur -
One in the Other (Part 1)
One in the Other is a choreographic exhibition extending across two interrelated parts, a corresponding video installation and a live performance. Taking its title from a Surrealist game, both parts form a mimetic relationship with one another. They consist of eleven dancers assembling their bodies to create a living environment in space: through bodily acts of mimesis distinctions between self and other become porous and flexible. Charting creative capacities to adapt to one’s environment, to imagine, to become other through assimilation and play, the game-like choreographies, both live and on screen, act like frames and mirrors through which the subjects’ reciprocal and circular relationship with one another opens up a tactile experience of intra-subjective co-presence. The choreography on screen invokes a ritual of contact and contagion, implying a back and forth movement: understanding of the group involves repeated circular movements between the individual and the group. Extending out of the screen dance as a mode of rehearsal, the dancers perform a translation and approximation of the patterns of the game-like choreography to enter into a live situation and relation with their audience through play. As a whole, One in the Other channels forms of attunement or correspondence that amounts to a kind of contagion as an attempt to challenge notions of boundaries.
2018
Screened as part of How Can Large Mountains enter Small Ice? at Delfina Foundation, London, United Kingdom. Supported by Delfina Foundation (London) and SAHA Association (Istanbul).4K Video and installation
Video duration: 12:30 Minutes on loop
Cinematography: Arturo Bandinelli
Sound design: Alyssa Moxley
Text: Sarah Wang
Filmed at: Studio Wayne McGregor
Performers: Ioanna Bili, Jilly Connick, Francesca Costa, Roberta Gotti, Ripp Greatbach, Oriana Haddad, Sean Murray, Lorenzo Nocentini, Bakani Pick-Up, Miriam Tsehai and Alice Weber. -
One in the Other (Part 2)
One in the Other is a choreographic exhibition extending across two interrelated parts, a corresponding video installation and a live performance. Taking its title from a Surrealist game, both parts form a mimetic relationship with one another. They consist of eleven dancers assembling their bodies to create a living environment in space: through bodily acts of mimesis distinctions between self and other become porous and flexible. Charting creative capacities to adapt to one’s environment, to imagine, to become other through assimilation and play, the game-like choreographies, both live and on screen, act like frames and mirrors through which the subjects’ reciprocal and circular relationship with one another opens up a tactile experience of intra-subjective co-presence. The choreography on screen invokes a ritual of contact and contagion, implying a back and forth movement: understanding of the group involves repeated circular movements between the individual and the group. Extending out of the screen dance as a mode of rehearsal, the dancers perform a translation and approximation of the patterns of the game-like choreography to enter into a live situation and relation with their audience through play. As a whole, One in the Other channels forms of attunement or correspondence that amounts to a kind of contagion as an attempt to challenge notions of boundaries.
2018
Performed as part of How Can Large Mountains enter Small Ice? at Delfina Foundation, London, United Kingdom. Supported by Delfina Foundation (London) and SAHA Association (Istanbul).Live Performance
Duration : 20 Minutes
Performers: Ioanna Bili, Jilly Connick, Francesca Costa, Roberta Gotti, Ripp Greatbach, Oriana Haddad, Sean Murray, Lorenzo Nocentini, Bakani Pick-Up, Miriam Tsehai and Alice Weber. -
To the Extent
In To the Extent, a group of performers move between a set of corporeal constellations, establishing fluctuating stages of contact and division amongst each other and their audience. By exercising strategies of dispersion, re-assembly, and reciprocity, the performers build a complex accumulation of gestures and bodily compositions, within which the audience becomes complicit. As bodies in a constant state of transformation, the performers both adapt to and interrupt their surroundings, thereby mapping alternative mechanisms of belonging. Through morphologies of physical arrangements in space, ranging from a wall of living bodies to gestures of alignment, camouflage and disappearance, To the Extent attempts to inquire into the architectural potential of social relations – seeking to uncover the ways we exist in built spaces.
2016
Performed at Alt Art Space, Istanbul, TurkeyLive Performance
Duration: 30 minutes
Performers: Tarcin Celebi, Ilgün Ceylan, Leman Sevda Darıcıoğlu, Derya Dinc, Eylul Dizdar, Cemrehan Karakaş, Irem Nalca, Gamze Öztürk, Ebru Sargın, Gültuğ Yenidoğan -
Industrial Intimacy
Inspired by Dan Graham’s 1975 performance Performer/Audience/Mirror, a group of six performers re-imagine his seminal work by transforming a constructed office space into a self-reflexive stage. Utilizing body language as the primary means of communication, the performers become agents in establishing a temporary social system: through rule-based game systems, structures of improvisation and play, Industrial Intimacy inquires into the potential of an embodied event, probing what bodies can do.
2016
Performed at Cabaret Voltaire as part of Manifesta Biennial, Zurich, SwitzerlandLive Performance
Duration: 50 minutes
Performers: Patricija Bronic, Noemi Clerc, Désirée Myriam Gnaba, Alice Joerg, Andreea Pintece and Ilona Stutz -
The Adoption
By choreographing fluctuations between movement and stillness, The Adoption produces polarized states of chaos and order. Further complicating this dichotomy is a perpetual reversal of roles. The audience become performers amongst the erratic movement, and return to spectatorship in moments of stillness. Here, the orderly construct of art-viewing is done away with and the audience becomes complicit in the work – they are within it, rather than outsiders looking in.
2015
Performed as part of the exhibition Primary Care at Julius Caesar Gallery, Chicago, United StatesLive Performance in collaboration with Stephen Kwok
Duration: 20 minutes
Performers: Jennifer McCool, Maggie Harrington, Jessie Winslow, Joseph Cappabianca, Pia Cruzalegui, Yannan Huang, Meghan Dowd, Mayra Rodriguez, Marina Miliou-Theocharaki and Paula Nacif -
Stare
By means of changing physical arrangements along a set of stairs, a group of fifteen performers establish micro choreographies amongst visitors traversing two levels of an art fair. Through establishing changing viewing positions and counter-perspectives, the performers establish with their gaze shifting modes of including themselves into, and excluding themselves away from, the visual sphere. As a spatial scenario, Stare investigates the complex spatial and social relations between objects, bodies, and elements of the built space and probes how physical constellations of stillness can initiate different ways of movement through these kinds of spaces.
Performers: Katie Adams, Lisa Bloom, Mayra Rodríguez Castro, Tyler Centanni, Robin Chen, Vicki Chen, Annie Cottrell, Emily Fenn, Laurel Foglia, Maggie Harrington, Susanna Hostetter, Yannan Huang, Jenny Kim, Helena Martinez, Alyssa Moxley, Jeremy Pauly, Caitlin Peterson, Matt Ryan, Christine Shallenberg, Patrick Segura, Elizabeth Smarz, Maryam Taghavi, Marina Miliou-Theocharaki, Keijaun Thomas, Suzanne Torres, Jake Vogds, Ronda Wheatly, Chen Chen Yu, among others.
2014
Performed at EXPO Chicago – The international exposition of Contemporary & Modern Art, United StatesLive Performance
Duration: 30 minutes (in intervals) -
Body Building
In Body Building a group of seventeen performers assemble next to each other, shoulder on shoulder, establishing a second wall around the margin of a square room. Occupying the entire dimension of the room from wall to wall except a small opening, their gaze is directed towards the empty space. Upon entering, the spectators – through their own bodily compositions in space – intentionally or unintentionally, start to perform as well. Through shifting dichotomies of simultaneous movement and stillness, of watching and being watched, Body Building creates a face-to-face encounter and a body-to-body situation to test out symmetries and asymmetries of co-presence.
Performers: Katie Adams, Naama Arad, Fred Schmidt-Arenales, Claire Bauman, Bow-Ty, Mayra Rodríguez Castro, Chanhee Choi, Annie Cottrell, Jenn Cooper, Elise Cowin, Angharad Davies, Emily Fenn, Laurel Foglia, Alessandra Gomez, Tia Greer, Oriana Haddad, Stevie Hanley, Maggie Harrington, Brittni Hessler, Wei Hsinyen, Josh Hoglund, Yannan Huang, Dana Heeyun Jang, Jenny Kim, Francis Kondorf, Stephen Kwok, Alyssa Moxley, George William Price, Patrick Quilao, Rachel Ramirez, Charles Rice, Erica Ricketts, Matt Ryan, Michal Samama, Christine Shallenberg, Erin Smego, Olive Stefanski, Lisa Stertz, Marina Miliou-Theocharaki, Keijaun Thomas, McKenzie Thompson, Hannah Verrill, Caz Wallace, Caleb Yono, among others.
2014
Performed at Risk: Art and Social Practice (curated by Tricia Van Eck) at 6018 North, Chicago, United StatesLive Performance
Duration: 30 minutes (in intervals across exhibition duration) -
Vanishing Point
Vanishing Point is a choreography for five performers. Moving on demarcated lines, each performer holds a glass vessel. Each vessel contains a sound device that amplifies one voice. Each voice maps and speaks from the same script at different speed. Together the five voices create a chorus building up in space as the movement unfolds – until each voice is drowned once the movement approaches its limit.
2014
Links Hall, Chicago, United StatesLive Performance
Sound, custom speakers, glass vessels
Duration: 11 minutes
Performers: Lisa Stertz, Erica Ricketts, Tia Greer, Jennifer McCool and Lucas Black -
Sightseeing
A series of performances and public interventions inquiring into relationships of sight and site.
2013
1st Performance: Itinerants – we stir our way onwards (mixing as we go) – in collaboration with Hannah Verrill for EdgeUP Festival (curated by Tricia Van Eck), Chicago, United States2nd Performance: Sightseeing, performance as part of group show Roads Scholar (curated by New Capital), Iceberg Projects, Chicago, United States
Live Performance and Public Interventions
Performers: Stephanie Acosta, Murat Adash, Keijaun Thomas, McKenzie Thompson and Hannah Verrill -
Place is a Pause in Movement
A group of six performers sweep through the Great Hall of the Chicago Union station. Walking in the pattern of a vanishing point, they slowly move ahead. As an act of rehearsal they shift, migrate and re-arrange collectively. With each pause between their steps they create a new constellation in space – time becomes spatialized and mobilized at once. Place is a Pause in Movement establishes a choreography of spatial and durational organization in relationship to belonging, where belonging is not bound to any specific location but to a system of movement.
2013
Chicago Union Station, US
Exhibited at Iceberg Projects, ChicagoHD Video
Single channel video
Duration: 13 minutes
Videography: Gonzalo Escobar Mora & Casey Puccini
Performers: Hannah Verrill, Stephen Kwok, Elise Cowin, Marina Miliou-Theocharaki, Kevin Barrett, McKenzie Thompson -
Vertical Resistance
2012
Digital Photographs
Dimensions in print: 24″ x 16″ / 60cm x 40cmExhibited at Motorenhalle Dresden, Germany and Surp Yerrortutyun Kilisesi, Istanbul, Turkey
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Vessels of Infinite Geometries
2012
Swell Gallery, San Francisco, USPerformance Installation in Three Acts
Ellipsoidal lights, parabolic speaker, paper, chalk, triangle, sound, live performances