[dance-tech] contact for Anna Douglas
- From: Deirdre Towers <dfa5@xxxxxxxxxxxxx>
- To: <dance-tech@xxxxxxxxxxxxx>
- Date: Sun, 23 Oct 2005 11:05:38 -0400
How could we get ahold of these tapes? Would there be
a contact for the curator?
Thanks,
Deirdre Towers
Dance Films Association
celebrating 50 years of service in 2006
48 W. 21st St., #907
NY, NY 10010
T/F(212) 727-0764
www.dancefilmsassn.org
dfa5@xxxxxxxxxxxxx
> From: "Birringer, Johannes" <johannes.birringer@xxxxxxxxx>
> Reply-To: dance-tech@xxxxxxxxxxxxx
> Date: Sat, 22 Oct 2005 22:33:00 +0100
> To: <dance-tech@xxxxxxxxxxxxx>
> Subject: [dance-tech] Re: motion at the edge
>
> hello all;
>
>
> last night I witnessed an unusual opening, right in midst of a rainy windswept
> dark countryside in a small village called Long Buckby (Northamptonshire):
> "Motion at the edge", a program of dance/video/performance screenings, curated
> by Anna Douglas, having its premiere in an old building that used to be the
> Assembly Hall, a chapel-like architecture with beautiful wooden floorpanels
> and a magical ambience, except that these historical Assembly Rooms are now
> the house of an architect, who opens his private living room up for 5 weeks,
> exhibiting a collection of unusual films which, at first sight, look not at
> all like dancevideos or videodance.
>
> The artists included are:
>
> Rosemary Butcher/Martin Otter, "Vanishing Point"
> Gina Czarnecki "Infected"
> Chris. Dugrenier, "Ascendance" [with Aerobatic pilot Julian Murfitt]
> David Hinton, "Birds"
> Grace Ndiritu, "Arrested Development"
> Katharina Mayer, "Romanz"
>
>
> Not all of these screen-works are new, "Romanz" for example dates back to
> 2000, the others are more recent, but they have been re-worked or are now
> re-sited (having moved from earlier video or film installations to a single
> screen projection). The new context in which they are seen now, in this old
> but renovated architecture of the private-public house, and the constellation
> of a program that conjoins these very different films, provides room for
> discussion, especially if "dance" here is really not foregrounded or even
> perceivable in the manner in which we may tend to think of dance for the
> camera or videodance.
>
> I know that are many here on this list who are interest in dance and film, i
> wish i could tell you more about what i felt last night, observing the
> cinematic choreographies of these different artists and artist-collaborators.
> There is no website, so I can only take my memories with me from the village,
> meeting all these fine people there last night, chatting with the filmmakers
> and guests, laughing along with the pilot, who explained his maneuvers to me
> (he first visualizes his aerial aerobatic movement sequences on the ground, so
> the filmmaker starts off with Murfitt rehearsing - in a green meadow - how he
> will fly the plane..... Then the film shifts upward, and "flies" into the air
> and becomes an aerial dance itself....
>
> The other remarkable work, along with Grace Ndiritu's curious and subtle
> ritual performance, only her feet visible in the dark, a tiny fire burning on
> the ground, is Gina Czarnecki's equally strangely mesmerizing
> digitally-modified spiralling body (danced by Iona Kewney), a dance - illusory
> filmed motion - that cannot be, but is generated digitally and thus moves
> like dance, and yet, even if moving impossibly, becomes utterly direct, naked
> and close, as well as poetic, far out (in the current worlds of hybrids,
> bioarttech and genetically engineered creaturegamelandscapes) and not easily
> graspable, interpretable.
>
> Go and see the show if you are in the UK.
>
> Those of you coming to Nottingham at the end of year to attend the Digital
> Cultures Lab and Symposium (www.digitalcultures.org) -- - we may be able to
> get the Arts Council England (who underwrites this exhibition) to let us
> screen the works again at that occasion.
>
> regards
> Johannes Birringer
> www.digitalcultures.org
>
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