luciana achugar (2013 Performing Arts) presents the New York premiere of her Creative Capital-supported project, OTRO TEATRO, at New York Live Arts, April 2-5, 2014. Placed metaphorically in the ruins of a collapsed theater, OTRO TEATRO is achugar’s current search for another kind of theater; a ritual of becoming; an occasion for communion. OTRO TEATRO, a solo work created and performed by achugar, is a dark rite of passage from destruction to rebuilding. It is a dance that is meant to be felt as it is seen, giving voice to the arcane spirit and desire of our uncivilized bodies. Continue reading
As part of our “Artist to Artist” interview series, Queen GodIs (2013 Performing Arts) and Tracie Morris (2000 Performing Arts) met up at the Brooklyn Museum to discuss commonalities in their work. The following is an excerpt from their conversation. You can listen online to the full podcast, or subscribe through iTunes.
Queen GodIs: This is Queen GodIs, Creative Capital grantee, 2013, with the honor of being with Tracie Morris, a Creative Capital grantee from…
Tracie Morris: The first class of Creative Capital—2000.
Queen: I’m excited. I think there are a lot of parallels that I’m interested in discovering between our work, and some new things. I’m excited to see what she’s up to in this time and figuring out what we’re doing now. I’m going to start with what I call a “check-in.” I think that before you start an interview and start with asking people questions about their business, you want to see what’s on their brain for the day. This check-in is actually inspired by a quote of yours that I heard in an interview that you did with Charles Bernstein. You said: “Our subconscious says things that our consciousness has to catch up to.” I thought that was an awesome statement—a profound statement—and one that rings true in so many ways. So for this check-in, it’s just a quick thought, word-association based on this year in America. So I’m going to throw out some words, and you just give me one or two words—short, simple, off-the-top, first things that come to mind.
As part of our “Artist to Artist” interview series, Miwa Matreyek (2013 Performing Arts) and Janie Geiser (2000 Performing Arts) sat down to discuss commonalities in their work. The following is an excerpt from their conversation. You can listen online to the full podcast, or subscribe through iTunes.
Miwa: We’re here talking about our work for Creative Capital. I just showed Janie my Creative Capital project, This World Made Itself, and I’ve seen a lot of Janie’s puppetry work as well as her films, and Janie’s seen my work. We’ve been in each others’ worlds for a few years. Janie was one of my mentors from CalArts who really inspired me to do performance, so it’s really thrilling to have this conversation.
Janie: Yeah, I’m very happy to be here talking with you in your apartment, where I can feel the presence. I see the collages that I’ve seen on your website. It’s really amazing. So, it might be a good starting place, thinking about your work as collage and how you combine images and how you went from still collages into performance and film.
Miwa: I actually consider the performances as a collage. Continue reading
Jessica Almasy: Helloooo!
Neal: I was just thinking that we would get together because Jessica’s work is somewhat about America and I think that my work is about America, too. I don’t get asked about that very much. So, I wanted to talk about what it’s like to make work about America and have various experiences of people responding or not responding to it. I just wanted to have a wide-ranging and thought-provoking conversation about making work about America. [Laughs]
Jessica: Awesome. I’d like to start by giving a little context for where The Team is coming from. I’m part of the collaborative theater ensemble The Team, and we created a mission statement about ten years ago, which states that we make plays about America. So, if we’re succeeding, then that’s what we’re doing. Also, we had to create an acronym for legal purposes back in the day when we incorporated, so Team stands for Theater of the Emerging American Moment; so again, it’s right in the title. Our job is to think about what is happening right now. We gained our first traction in the UK at the Edinburgh Fringe Festival, so people really read our work as information from America being made by young Americans. We were like a specimen for them. I think there’s a really big difference when you’re out of context than when you’re ensconced in your own culture. Continue reading
In September, a group of our West Coast grantees organized a brunch at the Ace Hotel in Portland, OR, during the TBA Festival. The event, supported by our Regional Gatherings Program, brought together Creative Capital grantees from the Pacific Northwest along with other artists and attendees of the festival.
Launched in January 2013, the Grantee Regional Gatherings Program is Creative Capital’s newest artist-directed initiative. The gatherings, initiated and organized by grantees for fellow grantees and the the community-at-large, are supported by Creative Capital funds, and can range from salons to Pecha Kucha-style events, workshops, happy hours, and more. Thanks to Holcombe Waller (2013 Performing Arts) and Miwa Matreyek (2013 Performing Arts), who organized the Portland event and shared these great photos. Many thanks as well to the Ace Hotel in Portland for providing the space and the catering! Continue reading
On Friday, September 27, Paul will present in the Creative Capital session, Art @ The Edge, at the IdeaFestival in Louisville.
Ken Nintzel (2009 Performing Arts) is premiering his Creative Capital-supported project, You Are Here, with an installation in the Brooklyn Academy of Music’s Lepercq Space as part of the BAM Next Wave Festival. You Are Here is a modular installation that recreates the constellations of the night sky in physical form, as they are depicted in celestial atlases, and suspends them overhead to create a life-size stellarium. Each animal and human constellation figure has embedded LED lights plotting the stars that make up the constellation. In natural light, viewers experience the three-dimensional animal and human forms; as the light fades, the figures recede into silhouette and the star patterns emerge. Continue reading
As part of our “Artist to Artist” interview series, choreographers and long-time artistic collaborators DD Dorvillier (2013 Performing Arts) and Jennifer Monson (2000 Performing Arts) sat down to discuss Jennifer’s recent performance project, Live Dancing Archive, which she presented at The Kitchen in February 2013. The following is an excerpt from their conversation.
DD Dorvillier: To start, I thought I would take on something you wrote to me: “I am interested in the possibility of the body as an archive on multiple scales at once both temporal and spatial, human and adjacent to human—the particularities of experience as something that is impermanent and leaves multiple kinds of traces, and the relationships of transmission and reception in the sound scores, in the dancing and the audience.” This idea of the possibility of the body as an archive on multiple scales—do you think of this as a metaphor, or is it an actual practice, or is it something in between? In other words, what does the body as an archive LOOK like or FEEL like? Continue reading