In an effort to represent diverse processes and means of reflection, Critical Correspondence asked poet and artist Christine Shan Shan Hou to submit responses to the work she is seeing according to her own creative practices. This is part of our ongoing interest in soliciting alternative materials from the performance community highlighting the intrinsically subjective nature of creation and observation. This page will be updated often as a series in as many parts as can herein be contained.
Response to Trajal Harrell’s Judson Church Is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris Is Burning at the Judson Church (M2M)
October 11-13, 2012 at Danspace Project
Response to DD Dorvillier’s Danza Permanente
September 26-30, 2012 at The Kitchen
Response to RoseAnne Spradlin’s beginning of something
September 26-29, 2012 at New York Live Arts
Response to Two Evenings with Carolee Schneemann
September 21-22, 2012 at Danspace Project
Untitled (after Carolee Schneemann) – gouache and collage on paper
Response to Brian Rogers’s Hot Box
September 13-15 and 17-22, 2012 at The Chocolate Factory
Response to Clarinda Mac Low’s 40 Dancers do 40 Dances for the Dancers
September 13-15, 2012 at Danspace Project
Christine Shan Shan Hou is a poet, artist, and critic living in Brooklyn, NY. Publications include Accumulations (Publication Studio, 2010) and C O N C R E T E S O U N D (Norte Maar, 2011), a collaborative artist’s book with Audra Wolowiec. Additional poems appear, or are forthcoming, inWeekday, EOAGH, Parallelograms, Bone Bouquet, and A Science. Awards include The Flow Chart Foundation/The Academy for American Poets and the Zora Neale Hurston Scholarship. In 2011, she completed a residency at Mount Tremper Arts in partnership with The Brooklyn Rail. She is currently the Managing and Program Director for iLAND (Interdisciplinary Laboratory for Art Nature and Dance), and writes on performance for The Brooklyn Rail, The Performance Club, Hyperallergic Weekend, and Idiom.
