Kimberly Bartosik / daela – Étroits sont les Vaisseaux from Gibney Dance on Vimeo.

Choreography and Direction – Kimberly Bartosik in close collaboration with the performers
Performed – Joanna Kotze and Lance Gries
Lighting and Set Design – Roderick Murray
Costume Design – Kimberly Bartosik, Joanna Kotze, and Lance Gries
Sound Design – Kimberly Bartosik and Roderick Murray

Bessie Award-winning performer Kimberly Bartosik has been presented by American Realness, New York Live Arts, Dance Theater Workshop, Gibney Dance, Abrons Art Center; The Yard, MASS MoCA/Jacob’s Pillow, Danspace Project, French Institute Alliance Francaise’s Crossing the Line Festival, Festival Rencontres Chorégraphique Internationales de Seine-Saint Denis, Artdanthe Festival, Dance Place, American Dance Festival, BEA, The Kitchen, La Mama, and Mount Tremper Arts.

She has received support from the Jerome Foundation, FUSED (French-US Exchange in Dance), Mid-Atlantic Arts Foundation, USAI; NYFA/ BUILD; MAP Fund; American Dance Abroad; New Music USA; and Foundation for Contemporary Arts, Grants to Artists and Emergency Grants. Bartosik was a 2015 Merce Cunningham Fellow and a 2016 Gibney Dance DiP Residence Artist. From 2016-18, Kimberly will be supported by ART: Administrative Resource Team, a capacity building program of Pentacle.

Kimberly danced for the Merce Cunningham Dance Company for 9 years. She has been a guest artist/faculty at University of North Carolina School for the Arts, Arizona State University’s Hergberger Institute for Design and the Arts, Purchase College, Colorado College, and Princeton University (Fall 2016). www.daela.org

From 1985-1992, Lance Gries was a member of the Trisha Brown Dance Company, receiving a “Bessie” Award and a Princess Grace Foundation Award. Since 1991 he has presented choreography in venues in New York City such as The Kitchen, Danspace and La MaMa. His solo, “Etudes for an Astronaut” was nominated for a 2011 “Bessie” Award and he is a 2014 Foundation for Contemporary Arts Fellow in support of his latest work, “IF Immanent Field.” In 1995 he became a “founding teacher” of PARTS in Brussels, Belgium and continues there as a visiting teacher. He is thrilled to be working and dancing with Kimberly and Joanna for the first time.

Joanna Kotze has worked with Kimberly Bartosik since 2009. She danced with Wally Cardona from 2000-2010, and is currently dancing with Stacy Spence and Kota Yamazaki. She received the 2013 “Bessie” Award for Outstanding Emerging Choreographer. Her choreography has been presented at the National Arts Centre in Ottawa, Baryshnikov Arts Center, American Dance Institute, Danspace Project, Bard, Jacob’s Pillow, NYLA, MR at Judson, and other venues and galleries. She has had commissions from Toronto Dance Theatre, Ririe-Woodbury, Zenon and James Sewell Ballet, and has an upcoming commission from Gibney Dance Company this spring. Joanna teaches at Movement Research and Gibney Dance, is originally from South Africa and has a BA in Architecture. www.joannakotze.com

Bessie Award winning lighting designer Roderick Murray has been designing lighting and installations for performance, dance, and music both nationally and internationally since 1989. Murray has been collaborating with Kimberly Bartosik since 2000 and collaborates regularly with Ralph Lemon and Dusan Tynek. He has also designed the lighting for Benjamin Millepied, the Lyon Opèra Ballet, NYCB, ABT, Ballet du Grand Théâtre de Genève Sekou Sundiata, Hot Mouth, Yanira Castro, Yasuko Yokoshi, Tim Fain, Ethel, Luca Veggetti, Wally Cardona, Morphoses, Donna Uchizono, Paradigm, Scotty Heron, Pepatian, Risa Jaroslow and Dancers, Bill Young and Dancers, Ricochet Dance, and many others. In fall 2016 he “performed” the role of DJ and lighting designer in Jerome Bel’s The Show Must Go On.

“Brainy, but hot” – Nancy Dalva, The DanceView Times

“Kimberly Bartosik is one of the most intriguing descendants of Merce Cunningham.”
– Wendy Perron, Dance Magazine

“Both parts of Ecsteriority1&2 whittle the body down to its essence, and beyond, raising challenging questions about physicality, decay, and internal and external space. This is exciting work, careful and intentional without being overly constructed.” – Elizabeth Bachner, Offoffoff.com

“Bartosik and her extraordinary collaborators have crafted a compelling work, a captivating experience that is physically expressive, musically dreamy, and visually stunning, and from which many levels of meaning and feeling can be derived.” – Brian McCormick, Mediatized