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Janine Antoni in conversation with Abigail Levine

Artist Janine Antoni speaks of her recent engagement with dance and with choreographers, including Annie B, Parson, Jill Sigman, Stephen Petronio and Anna Halprin. Antoni describes herself as new to dance, although her artistic practice has always centered on the body. Movement improvisation, she says, acts as an accelerator of her artistic process; when she […]

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  • 5.19.16
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Critical Correspondence: Dance and the Museum

In 2013, Critical Correspondence initiated a project dedicated to the examination of dance in the museum today–its politics, economics, and aesthetics. Acknowledging a long history of cross-pollination between dance and the visual arts–some driven by artists, some by institutions–our hope is to create a forum, based in a dance institution, for the voices of those […]

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  • 12.4.15
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Lise Soskolne of W.A.G.E. in Conversation with Abigail Levine

  This past winter I met with Lise Soskolne, core organizer for W.A.G.E. (Working Artists and the Greater Economy). W.A.G.E. is “a New York-based activist organization focused on regulating the payment of artist fees by nonprofit art institutions, and establishing a sustainable labor relation between artists and the institutions that subcontract their labor.” I got […]

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  • 5.19.15
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Xavier Le Roy in Conversation with Will Rawls

Over the last twenty years, Xavier Le Roy has radically expanded the field of contemporary choreography, through solo and collective research-based practice. His diverse works question the limits of performance, exposing the conditions that govern artistic production in the theater. Increasingly, Le Roy has turned towards issues of addressing and engaging the public, and how […]

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  • 11.13.14
PERFORMANCE, SCULPTURE, DANSE, ESS, LE MOUVEMENT, PERFORMING THE CITY, BIEL, BIENNE,

Chris Sharp in Conversation with Biba Bell

This autumn, dance and performance provided an essential means by which curators Chris Sharp (Mexico City) and Gianni Jetzer (New York) could reimagine public sculpture and the potentiality of urban space for Le Mouvement, the latest installment of the Swiss Sculpture Exhibition (founded in 1954). An expansive, threefold exhibition, Le Mouvement invited numerous works and […]

Charles Aubin

Charles Aubin in Conversation with Abigail Levine

Curator and performance scholar Charles Aubin discusses his work at Paris’s Centre Pompidou and New York’s Performa Biennial, focusing on the current interest in live art and performing arts curation, particularly within the context of visual art institutions. Aubin addresses the differences in curatorial strategies in a yearlong programming calendar versus a biennial, the funding […]

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  • 9.11.14
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Dance and the Museum: Helene Lesterlin Responds

  Agnes Martin’s brand of minimalism isn’t for everyone, but I am always star-struck when I come across one of her drawings or paintings. Like a gust of chill, fresh air, with a view of some wide, empty expanse, her work gives me a settled, alert feeling. The shimmering surface has an authority, a presence, […]

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Colectivo A.M. Responds

In response to Critical Correspondence’s initial set of questions about the interaction of dance and the visual arts, Colectivo A.M. composed a round-robin diary based on the creation and performance of their 45 hour-long piece, Arrecife, presented over three weeks in August-September 2013 at the Museo Universitario de Arte Contemporáneo (University Museum of Contemporary Art/ […]

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Dance and the Museum: Gustavo Ciriaco Responds

  1) What are the most potent questions or ideas prompted by the recent coming together of dance and the visual arts?   I like the terms you choose for this meeting of two different art fields: coming together. This already reveals a movement towards a shared place and at the same time the condition […]

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  • 4.1.14
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Of Note Elsewhere: Yve Laris Cohen in Mousse Magazine

Yve Laris Cohen’s recent work takes the literal materials of traditional dance and visual art spaces–the specialized floors, the distinctly colored walls–and uses them as both the stuff and subject of his visual and performance work. Some of these displacements arose from necessity–the installation of a sprung surface to accommodate jumping on the concrete floor […]

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  • 3.12.14
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Mark Franko Responds: homeless in the museum, or, how to be a school

Original post on OpEdgy Arts & Performance (Jampole Communications) French choreographer Boris Charmatz is presenting three different programs this fall at the Museum of Modern Art in New York City under the umbrella title: Three Collective Gestures(October 18-November 3). In many ways, he is taking on the whole contemporary issue of the relation of dance to the […]

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  • 2.6.14
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Dance and the Museum: Noemie Lafrance Responds

  1) What are the most potent questions prompted by the recent coming together of dance and the visual arts? Dance artists and visual artists collaborate everyday based on affinity and need, just like artists of all disciplines also collaborate. Cinema for example, is a purely collaborative form, much like the performing arts, which generally […]

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Dance and the Museum: Marten Spangberg Responds

1) What are the most potent questions/ ideas prompted by the recent coming together of dance and the visual arts? Good question, is not a bad answer, but hmmm maybe one could elaborate slightly, though this question probably would extend into PhD-type size. What you have in front of you is an answer of all […]

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  • 1.9.14
Kosoko Photo by Katie Kischer

Dance and the Museum: Jaamil Olawale Kosoko Responds

1) What are the most potent questions/ ideas prompted by the recent coming together of dance and the visual arts? I hear artists asking questions about how their work can read as cinematic, how various kinds of relational experiences can co-exist between genres, what is the relationship between identity and abstraction and form, among many […]

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  • 1.8.14
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Dance and the Museum: Sara Wookey Responds

  1) What are the most potent questions prompted by the recent coming together of dance and the visual arts? How does the socio-spatial context of the museum support the needs of dance? What can dance offer the visual arts? Where is the voice of the dancer? How might this “coming together” facilitate a shift in the dynamics […]

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  • 1.7.14
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