Marissa Perel from Gibney Dance on Vimeo.

Marissa/Perel is an artist and writer based in New York. Perel has received commissions for performances on disability and survivorship from the Department of Cultural Affairs of Chicago for “Site Unseen: Disabling Conditions” at the Chicago Cultural Center, and from the Americans with Disabilities Act in commemoration of its 25th Anniversary. Perel’s performance for the anniversary, “Bodies at the Center,” was a collaboration with artist and long term HIV survivor, Gregg Bordowitz. Perel has also received commissions from The Chocolate Factory Theater (NY) and FringeArts (Philadelphia) for evening length works “More Than Just a Piece of Sky” and “Torn Forest,” respectively. Their work has been presented at Danspace Project, Judson Memorial Church, Golden Gallery, Pseudo Empire Gallery, Dixon Place, and Center for Performance Research, the Poetry Project at St. Mark’s Church (NY), DIVO Institute (Prague, CR) and Medium Gallery (Slovakia) among others. Perel was an editor of Critical Correspondence, and created the column, “Gimme Shelter: Performance Now” for Art21 Magazine, and a co-curator of the Movement Research Spring Festival 2012: Push. It. Real. Good. Perel is a Lecturer at the School of the Art Institute of Chicago Low-Residency M.F.A, and has been a Visiting Artist at Wesleyan University, Bryn Mawr College, University of Michigan, and Barnard College.

Adrienne Truscott's THIS from Gibney Dance on Vimeo.

Created, Written & Performed: Adrienne Truscott
Direction: Ellie Heyman
Set/Sound/Video Design: Carmine Covelli
Light Design: Mary_Ellen stebbins

Adrienne Truscott has been making multi-genre, multi-platform work for over 20 years. She’s a choreographer, comedian, writer, performance maker and has been one half of The Wau Wau Sisters, a 15-year long collaboration and boundary-busting cabaret/circus act. Her group choreographic works (they will use the highways, Genesis, no!, Ha! A Solo, Bermuda/Disappearance (Never Performed), make, I mean and Too Freedom) have been presented by The Kitchen, PS122, Dance Theater Workshop Movement Research at Judson Memorial Church, Project Arts Centre (Dublin) and American Realness among others.

Her critically-acclaimed Adrienne Truscott’s Asking For It: A One-Lady Rape About Comedy Starring Her Pussy and Little Else! won the Edinburgh Foster’s Panel-Prize and is considered a critical impetus to the evolving conversation about rape culture. She is a 2014 Doris Duke Impact Award Artist, 2016 FCA Artist Grant recipient (Theater), a 2017 Adelaide Fringe Artist Ambassador and a 2017 Bessie-nominated artist for Outstanding Production for THIS. She has performed at the Sydney Opera House’s Festival of Dangerous Ideas, on cult story-telling series The Moth, and is an occasional writer for The Guardian. Her essays have been published in two Australian anthologies – Women of Letters: Between Us and Doing It: Women Tell the Truth about Great Sex. THIS premiered at New York Live Arts in April 2017 and is currently touring widely. Wild Bore, a project she spear-headed as a commissioned collaboration with UK and Australian artists at The Malthouse (Melbourne) will be at Soho Theatre (London) for month in Nov/Dec 2017. As an artist, she wears many hats and is attracted to the possibility of failure as a mandate for rigor.

Rosy Simas from Gibney Dance on Vimeo.

Choreographed and performed by: Rosy Simas
Original music composition: François Richomme
Letter reader: Laura Waterman Wittstock (Rosy’s mother)
Letters written by: Clarinda Waterman (Rosy’s grandmother)
Original lighting design: Karin Olson
Second lighting design: Carolyn Wong
Set and film design: Rosy Simas

Rosy Simas is a Haudenosaunee (Seneca, Heron Clan) mid-career artist based in Minneapolis.

Simas has been honored by the Native community with a Native Arts and Cultures Foundation Fellowship (2013), a First Peoples Fund Fellowship (2016), Tiwahe Foundation’s American Indian Family Empowerment Program Fund grant (2014, 2016), and residencies at the Banff Centre Indigenous Arts Program (2013), Oneida Nation Arts Program (2003, 2010), All My Relations Arts (2014, 2018), Full Circle’s Talking Stick Festival (2012, 2014), and Institute of American Indian Arts’ Museum of Contemporary Native Arts (2014).

Simas is a Guggenheim Fellow (2015) and McKnight Choreography Fellow (2016). Her work is supported nationally by the Knight Foundation’s Knight Arts Challenge (awarded in 2017 to Rosy Simas Danse and O’Shaughnessy Auditorium at St. Catherine’s University); New England Foundation for the Arts National Dance Project Production award (2013, 2017) and Tour award (2015), MAP Fund (2017), and National Performance Network Creation & Development Fund (2015).

Her solo, “We Wait In The Darkness” has been presented at venues such as: ODC; Dance Place; Maui Arts & Cultural Center; MAI (Montréal, arts interculturels); The Autry; The Dance Center at Columbia College Chicago; SUNY Fredonia; the Living Ritual Festival in Toronto, and at DANSEM in Marseille, Fr.

Her work “Skin(s)” has toured to the Kelly Strayhorn Theater, Intermedia Arts, La Peña Cultural Center, and EastSide Arts Alliance. It will tour in 2017/2018 to the City of Chicago Cultural Center, Gimaajii-Mino-Bimaadizimin (Duluth), and Northwestern University (Evanston).

Her exhibit “We Wait In The Darkness” has toured to All My Relations Arts (Minneapolis), The Edge Center (Big Fork, MN), Gimaajii-Mino-Bimaadizimin, and the Mitchell Museum of the American Indian (Evanston).

Michelle Ellsworth from Gibney Dance on Vimeo.

The Rehearsal Artist – Short Trailer from Max Bernstein on Vimeo.

Creator: Michelle Ellsworth
Performers: Lauren Beale, Michelle Ellsworth, Ondine Geary, and Jadd Tank
Lighting Designer and Reactive Artist: Ryan Seelig
Sound Design: Max Bernstein
Set Design: Bruce Miller
Flipbook and web programmer: Satchel Spencer
Production Manager: Emily Rea

Though not a licensed scientist, technologist, or carpenter, Michelle Ellsworth nevertheless co-mingles these disciplines with dance in an attempt to choreograph coping strategies and wood-based and web-based solutions to peculiar geopolitical (and personal) phenomena. The pharmaceutical potential of dance, as well as labor-intensive ideas inform her work.

Recent gigs include: Bard’s Fisher Center (2017), Noorderzon Festival (Netherlands 2016), Made in the USA Festival (Greece 2016), On The Boards ( 2015), The Chocolate Factory (2015), American Realness (2015), The Fusebox Festival (2013 and 2015), Brown University (2015), Abandon Normal Devices Festival (Liverpool 2013), and Danspace in New York City (2012).

Among Ellsworth’s honors are a Guggenheim Fellowship (2016), National Performance Network Creation Fund Commission (2016), Doris Duke Impact Award (2015), a NEFA National Dance Project Grant (2014 and 2017), a Creative Capital Fellowship (2013), and a USA Artists Knight Fellowship in Dance (2012).

Claire Cunningham & Jess Curtis from Gibney Dance on Vimeo.

Created and Performed by: Claire Cunningham and Jess Curtis
Philosophical Consultation by: Alva Noë
Dramaturgy by: Luke Pell
Video Design by: Yoann Trellu
Composed by: Matthias Hermann
Lighting Design by: Chris Copland
Costume Design by: Michiel Keuper

Claire Cunningham is a performer and creator of multi-disciplinary performance based in Glasgow, Scotland. One of the UK’s most acclaimed and internationally renowned disabled artists, Cunningham’s work is often rooted in the study and use/misuse of her crutches and the exploration of the potential of her own specific physicality with a conscious rejection of traditional dance techniques (developed for non-disabled bodies) or the attempt to move with the pretence of a body or aesthetic other than her own. A self-identifying disabled artist, Cunningham’s work combines multiple artforms and ranges from the intimate solo show ME (Mobile/Evolution) (2009), to the large ensemble work “12” made for Candoco Dance Company. In 2014 she created a new solo: Give me a reason to live, inspired by the work of Dutch medieval painter Hieronymus Bosch and the role of beggars/cripples in his work, and the full length show Guide Gods, looking at the perspectives of the major Faith traditions towards the issue of disability. She is a former Artist-in–Residence at the Women of the World Festival at the Southbank, London and of the Ulster Bank Belfast Festival at Queens. In 2016 she is the Artist in Residence with Perth International Arts Festival, Australia and Associate Artist at Tramway, Glasgow, and she has recently been awarded an Unlimited Commission for a new duet with choreographer Jess Curtis. www.clairecunningham.co.uk

Jess Curtis is an award-winning choreographer and performance artist who is committed to an art-making practice that is informed by experimentation, innovation, critical discourse, and social relevance at the intersections of fine art and popular culture. Curtis co-founded the radical performance collective CORE, and created and performed multi-disciplinary dance theater throughout the U.S., Europe, and the former Soviet Union with Contraband in the 80’s and 90’s. In 2000, after 15 years of making dance in the Bay Area as an independent choreographer, Curtis founded his own company, Jess Curtis/Gravity. Known for his interdisciplinary and cross-genre work, Curtis has collaborated with some of the most innovative artists working today, including Guillermo Gómez-Peña, Jules Beckman, Keith Hennessy, Angela Schubot, Ingo Reulecke, Jochen Roller, Sommer Ulrickson, Maria Francesca Scaroni, Jörg Müller, Claire Cunningham, and many others. He has been commissioned or co-commissioned to create works for Artblau, the LOFT Theater, Schloss Bröllin, Berlin Senat, and Fabrik Potsdam (Germany); ContactArt (Italy); Theatre de Cachan and Chien Cru (France); Blue Eyed Soul Dance Company and DaDa Fest (England); Croi Glan Integrated Dance (Ireland); Yerba Buena Center for the Arts, the San Francisco Edge Festival, the Florida Dance Association/ Tigertail Productions, the National Performance Network, and ODC Theater (US.) The 2011 winner of the prestigious Alpert Award in the Arts for choreography, Curtis’s other honors include six Isadora Duncan Dance awards, a Fringe First Award at the Edinburgh Fringe Festival, and two SF Weekly Black Box Awards. Curtis is active as an advocate and community organizer in the field of dance and disability, and teaches Dance, Contact Improvisation, and Interdisciplinary Performance for individuals of all abilities throughout the US and Europe. He has been a visiting professor at UC Berkeley and and the University of the Arts in Berlin. He holds an MFA in Choreography and PhD in Performance Studies from UC Davis.

Alva Noë is a writer and a philosopher living in Berkeley and New York. He works on the nature of mind and human experience. He is the author of Action in Perception (MIT Press, 2004); Out of Our Heads (Farrar Straus and Giroux, 2009); and Varieties of Presence (Harvard University Press, 2012). The central idea of these books is that consciousness is not something that happens inside us, or to us. It is something we do. Alva’s new book on art and human nature, Strange Tools, was released by Farrar, Straus and Giroux on September 22, 2015. Alva received his Ph.D. from Harvard in 1995 and is a professor of philosophy at the University of California, Berkeley, where he is also a member of the Institute for Cognitive and Brain Sciences and the Center for New Media. He previously was a Distinguished Professor of Philosophy at the Graduate Center of the City University of New York. He has been philosopher-in-residence with The Forsythe Company and has also collaborated with dance artists Deborah Hay, Nicole Peisl, Jess Curtis, Claire Cunningham, Katye Coe, and Charlie Morrissey. Alva is a 2012 recipient of a Guggenheim fellowship and a former fellow of the Wissenschaftskolleg zu Berlin. He is a weekly contributor to National Public Radio’s science blog 13.7: Cosmos and Culture. www.alvanoe.com

Luke Pell is fascinated by detail, nuances of time, texture, memory and landscape, He is an artist living in Scotland working in and in between spaces of dance, theatre and live art. A maker and curator, he collaborates with other artists and organizations imagining alternative contexts for performance, participation and discourse that might reveal wisdoms for living. Noticing threads that weave between people and place his work takes form as intimate encounters, poetic objects, installations and designed environments for physical and virtual spaces. Approaching these large and small-scale works as responsive dances and choreographies that attend to notions of loss and landscape, memory and materiality through the poetry of the body. Committed to artist and art-form development Pell’s curatorial projects create spaces for artists and experts from different fields and realities to gather and explore relationships between words and movement, periphery and community. Arriving at new perspectives, articulations and understandings of what it is to be in the world, through interdisciplinary collaboration. Pell is an Associate Artist with Candoco Dance Company, Fevered Sleep and Janice Parker Projects. www.lukepell.org

Yoann Trellu is a french video artist based in Berlin since 2003. He started working with live projections in Nantes, France, in 1999, first using photography and slide projections, but quickly moved to computer, video projection and real time media software such as Max/Msp/Jitter. He creates video content and develop custom video applications for performance and theater. Since 10 years he worked on more than 40 productions in Germany, France and USA: Post-Theater (Berlin, New York, Tokyo), Konzert theater Bern (Switzerland), Landestheater Coburg (Germany), Jess Curtis-Gravity (Berlin, San-Francisco), Tatraum Projekte Schmidt (Germany), Ten Pen Chii (Berlin), Shang Chi Sun (Berlin, Taiwan), Junge Staatsoper (Berlin), Theater Strahl (Berlin). www.keyframed.net

Matthias Hermann studied cello with Rudolf Mandalka at the Robert Schumann Hochschule, Düsseldorf, Germany. He has created numerous award-winning scores for the productions of international dance theatre companies including Do Theater (St. Petersburg, Russia), Fabrik Company (Potsdam, Germany), Howard Katz (Berlin/New York) and Jess Curtis/Gravity (San Francisco/Berlin). He co-founded the internationally touring band PostHolocaustPop.

Chris Copland graduated from Goldsmiths College with a MA Theatre Arts in 2001. He has worked extensively in theatre and dance since 1993. He has worked as Production Manager for such companies as Bedlam Dance, Nigel Charnock, Ursula Martinez, Laila Diallo and Wendy Houstoun, and Flexer & Sandiland amongst many others. Lighting design credits include “Stupid Men”, “One Dixon Road” and “Ten Men” for Nigel Charnock: “Ostrich” for H2 Dance: “Heart of Darkness’ and “City of Tribes” for Tavaziva Dance: “Still” for Candoco, “My Stories Your emails’ and Free Admission for Ursula Martinez: “All Ears’ for Kate McIntosh: “Pact with Pointlessness” for Wendy Houstoun. Chris also regularly lectures in acting and devising for the theatre.

Michiel Keuper graduated in fashion design from ArtEz the Institute of the Arts in Arnhem (NL). With his fashion label Keupr/van Bentm he presented his collections during Paris Fashion Week for several years and his autonomous fashion work has been included in museum collections and has been exhibited internationally. Alongside working as a freelance women’s wear designer for companies such as G-star RAW and PUMA Black Station, he has been teaching design at BA and MA courses in the Netherlands and Germany. In the past years he extended his practice to fine arts, performance and art direction, involving painting, set and costume design for contemporary dance as well as singing. Recently he has worked with Hana Lee Erdman, Jeremy Wade, Miguel Gutierrez, Antonija Lvingstone and Sheena McGrandles. www.michielkeuper.blogspot.com

“It’s an eclectic, provocative and often fascinating view of the capabilities of the human form, of social perceptions, and of how far the art of dance can be pushed.”
– The San Francisco Chronicle

“I have never been so transfixed.”
– The Glasgow Guardian

“Walking into a dance rehearsal, one doesn’t expect to see a philosophy professor rolling on the floor doing contact improvisation. But when the choreographer is Jess Curtis, it’s best to expect the unexpected.”
– The San Francisco Chronicle

“The evening was a thought-provoking, thought-challenging experience that left me more aware of my preconceptions about myself and about others, and prodded me to choose my thoughts more carefully.”
– Leigh Donlan, Ballet to the People

Watch Me Watch You
Workshop with Jess Curtis & Claire Cunningham
Part of Movement Research MELT Winter 2018

Monday – Friday, January 15-19, 3:30-6:30pm

Abrons Arts Center, Studio G05
$175, Register at MovementResearch.org

Drawing on scores, ideas, and themes from their work The Way You Look (at me) Tonight — developed in collaboration with philosopher of perception Alva Noë — Curtis and Cunningham lead an investigation through movement, language, writing, watching, listening and feeling, of how difference — of physicality or lived experience — can shape, and is shaped by, the way we ‘perform’ our perceptions. This workshop is accessible to people of diverse physicalities.

Michael Portnoy.mp4 from Gibney Dance on Vimeo.

Relational Stalinism – The Musical (trailer) | Michael Portnoy from Performance Archive on Vimeo.

Directed by Michael Portnoy
Choreography Michael Portnoy in collaboration with original Dutch cast: Thomas Dudkiewicz, Jimmy Guacamole, Margo van de Linde, Keyna Nara, Evelyne Rossie, Loveday Smith, and Gerrie de Vries.

New York Cast: Chris Braz, Sean Donovan, Ruby McCollister, Keyna Nara, Michael Portnoy and Kirsten Schnittker
Lighting by Scott Bolman

Michael Portnoy (b. 1971, Washington, DC, USA) is a New York-based artist. Coming from a background in dance and experimental comedy, his performance-based work employs a variety of media: from participatory installations to sculpture, painting, writing, theater, video and curation. He has presented internationally in museums, art galleries, theatres and music halls, including recently Akademie der Künste der Welte, Cologne, Germany (2017); KW Institute for Contemporary Art, Berlin, Germany (2017); Playground, STUK, Leuven, Belgium (2016); Witte de With, Rotterdam, the Netherlands (2016); Liverpool Biennial, Liverpool, UK (2016); the Centre Pompidou, Paris, France (2015); Donaufestival, Krems, Austria (2015); Stedelijk Museum, Amsterdam, the Netherlands (2014); Palais de Tokyo, Paris, France (2013); The Kitchen, New York, USA (2013); dOCUMENTA 13, Kassel, Germany (2012); Beursschouwburg, Brussels, Belgium (2012); 11th Baltic Triennial (co-curator), Vilnius, Lithuania (2012); and the Taipei Biennial, Taipei, Taiwan (2010).

“The title says it all: a deliciously smart, imaginative and, at moments, catty takedown of the dogmatism and self-regard of certain well-known practitioners of what were erstwhile considered ‘radical’ or ‘engaged’ performative practices. Somewhere between Andy Kaufman and Monty Python, Relational Stalinism … is hilarious if you enjoy that ticklish uncertainty of not knowing whether you are being laughed at or laughing along with.”
– Chris Fite-Wassilak, Frieze.com

“Originally plotted as a kind of progressive theater at Rotterdam’s Witte de With, Portnoy’s Relational Stalinism: The Musical reveled in an elasticity both physical and semantic, his performers spinning mesmerizing half-truths out of seemingly incomprehensible combinations of words, gestures, slogans, synchronized blinking, and Skype calls to Citibank. The speed-of-light scripts were sprinkled with satirical digs at overly ambitious press releases while openly checking the art world’s reluctance to embrace theater the way it has choreography. “If your disgust for being in a theater becomes too unbearable, in the blackouts you can imagine you are walking from one cool gray room to the next in a contemporary arts institution,” Portnoy teased the audience. Those who appeared too engaged in their own thoughts were singled out of their seats and treated to private performances (presumably corrective in nature).”
- Kate Sutton, Artforum

Watch Me Watch You
Workshop with Jess Curtis & Claire Cunningham
Part of Movement Research MELT Winter 2018

Monday – Friday, January 15-19, 3:30-6:30pm

Abrons Arts Center, Studio G05
$175, Register at MovementResearch.org

Drawing on scores, ideas, and themes from their work The Way You Look (at me) Tonight — developed in collaboration with philosopher of perception Alva Noë — Curtis and Cunningham lead an investigation through movement, language, writing, watching, listening and feeling, of how difference — of physicality or lived experience — can shape, and is shaped by, the way we ‘perform’ our perceptions. This workshop is accessible to people of diverse physicalities.

Created by Neal Medlyn
Choreography adapted from works by Pina Bausch by Gillian Walsh with contributions from Maggie Cloud
Text by Neal Medlyn with contributions from Siobhan Burke, Gillian Walsh, Lumi Tan
Music by Tchaikovsky, Rihanna, Rocio Durcal, Juan Llossas, Lauryn Hill, Spiritualized, George Gershwin via Kate Bush, Lenny Williams
re-purposed video clip from ABC television “The Bachelorette”

Neal Medlyn is a musician and artist whose work straddles the lines between performance art, comedy, and music. His most well-known work is his seven show Pop Star Series and Champagne Jerry, the subsequent iteration of his work with popular music.

His work as Champagne Jerry has appeared at Joe’s Pub, BAM, New York Live Arts and on tour in various music venues, art galleries and Walmart parking lots as well as online. His album “For Real, You Guys” debuted in 2014 and his latest album “The Champagne Room” debuted in 2016. His albums feature collaborations with Max Tannone, Adam Ad-Rock Horovitz, Bridget Everett, Kathleen Hanna and others. Champagne Jerry was a musical guest on “The Chris Gethard Show” on Fusion TV. His touring stage show was named the best show in Chicago in 2016 and has performed around the U.S. in various clubs, Walmart parking lots and internationally in Vienna, Austria and London, U.K.

The Pop Star Series works, which dealt with work and ideas inspired by a diverse range of artists like Insane Clown Posse, Miley Cyrus and Michael Jackson, have been presented at venues such as Dance Theater Workshop, The Kitchen, PS122, the Chocolate Factory and others as well as in various festivals and theaters around the U.S. and abroad such as American Realness, the TBA Festival, the Live Art Festival at Kampnagel in Hamburg, Germany and others. The Pop Star Series was also made into a book published by 53rd State Press. Other work, notably his reenactment of a Beyoncé concert, has been presented by the New Museum for Contemporary Art, the Andy Warhol Museum. He has received support from Creative Capital, NYFA and others.

Watch Me Watch You
Workshop with Jess Curtis & Claire Cunningham
Part of Movement Research MELT Winter 2018

Monday – Friday, January 15-19, 3:30-6:30pm

Abrons Arts Center, Studio G05
$175, Register at MovementResearch.org

Drawing on scores, ideas, and themes from their work The Way You Look (at me) Tonight — developed in collaboration with philosopher of perception Alva Noë — Curtis and Cunningham lead an investigation through movement, language, writing, watching, listening and feeling, of how difference — of physicality or lived experience — can shape, and is shaped by, the way we ‘perform’ our perceptions. This workshop is accessible to people of diverse physicalities.

Performance & Installation: Keith Hennessy
Production: Circo Zero
Producing director: Alec White
Music: Emmy Lou Harris, Craig Armstrong, Teddy Thompson,
Down River, Nirvana
Onstage assistant: Peggy
Lighting operator: Sarah Lurie

Crotch was awarded a Bessie in 2009, the NY Dance & Performance award.

Crotch was developed at Ponderosa (Stolzenhagen Germany) in 2007 and was commissioned/premiered at L’Arsenic (Lausanne Switz) in 2008. Crotch has also been presented by DTW (NY), The Southern (Mnpls), Impulstanz (Vienna), Bluecoat (Liverpool), Dance Mission (SF), Ashby Stage (Berkeley), Queer Zagreb, Grütli (Geneva), Zodiac (Helsinki), Stary Bowar (Poznan Poland), Tanzfabrik (Berlin), Rhubarb Festival (Toronto), American Realness (NYC), Chicago, BONE Festival (Bern), God’s Entertainment (Vienna). Circo Zero is fiscally sponsored by CounterPULSE.

Keith Hennessy dances in and around performance. Born in northern Ontario, he lives in San Francisco since 1982 and tours internationally. His performances engage improvisation, ritual, collaboration, and public action as tools for investigating political realities. Practices inspired by anarchism, critical whiteness, post/Modern dance, activist art, the Bay Area, wicca, punk, contact improvisation, and queer-feminism motivate and mobilize Hennessy’s work. Keith’s 2016 collaborators include Peaches, Meg Stuart, Scott Wells, Jassem Hindi, and the collaboratives Blank Map and Turbulence. Keith’s recent teaching in universities, independent studios, and festivals includes Ponderosa, FRESH, HZT, Movement Research, Impulstanz, Portland State University, Sandberg Institute, St. Mary’s, and Warsaw Flow International CI Festival. Awards include the Guggenheim Fellowship, United States Artist Fellowship, a NY Bessie, multiple Isadora Duncan Awards, and a Bay Area Goldie. Keith’s writings have been published in Contact Quarterly, Movement Research Journal, Performance Research (UK), Society of Dance History Scholars Journal, Dance Theatre Journal (UK), Itch, Front, and In Dance. Hennessy directs Circo Zero and was a member of Contraband with Sara Shelton Mann. Hennessy is a co-founder of CounterPULSE (formerly 848 Community Space) a thriving performance space in San Francisco. He earned an MFA and PhD from UC Davis.

Watch Me Watch You
Workshop with Jess Curtis & Claire Cunningham
Part of Movement Research MELT Winter 2018

Monday – Friday, January 15-19, 3:30-6:30pm

Abrons Arts Center, Studio G05
$175, Register at MovementResearch.org

Drawing on scores, ideas, and themes from their work The Way You Look (at me) Tonight — developed in collaboration with philosopher of perception Alva Noë — Curtis and Cunningham lead an investigation through movement, language, writing, watching, listening and feeling, of how difference — of physicality or lived experience — can shape, and is shaped by, the way we ‘perform’ our perceptions. This workshop is accessible to people of diverse physicalities.