Interpassivities #BAMNextWave LOCATION: RUN TIME: DATES: Jesper Just

1hr nointermission BAM Fisher(FishmanSpace) NOV 17at2&7:30pm NOV 16at7:30&9:30pm NOV 15at7:30pm

provided by the Mertz GilmoreFoundationprovided bytheMertz fordanceattheBAMFisherSupport The SHSFoundation fordanceatBAMprovidedby Major support The BarbroOsherPro SueciaFoundation programming providedby forScandinavian Leadership support The HarknessFoundation forDance BAM providedby fordanceat Leadership support the DorisDuke CharitableFoundation andtheBAMFisherBAM Harvey providedby fordanceatthe Leadership support Season Sponsor: Executive Producer Joseph V. Melillo, President Katy Clark, BAM BoardViceChairs Nora AnnWallace, William I.Campbell and BAM BoardChair Adam E.Max, Brooklyn AcademyofMusic BAM Fisher Interpassivities Concept and direction Costume designer Jesper Just Barbara Erin Delo

Curator and producer Stage manager Noam Segal Meghan Rose Murphy

Production and development Artistic development Jesper N. Jørgensen Svala Vagnsdatter, Sabrina Tamar

Dancers Instrument builder Alexandre Hammoudi, Connor Holloway, Kristine Bech Sørensen Elina Miettinen, Abigail Simon, Jin Zhang, Cameron McCune Tech Illutron Laborers Eduardo Fernández with Erny Valera, Video Credits Franklin Hiciano, Christopher Castillo, and Romher Fernández. Dancers on film Astrid Elbo, Stephanie Chen Gundorph, Music and composition Elenora Morris, Sebastian Haynes, Kim Gordon, August Rosenbaum Benjamin Buza

Choreography Cinema photographers Jesper Just Kasper Tuxen, Frederik Jacobi in collaboration with the dancers Sound designer Set design Jakob Garfield Jesper Just Film editors Dramaturg and assistant choreographer Jesper Just, Jeppe Bødskov Photo: Jesper Just Ea Verdoner Line producer Art direction and production design Patricia Drati, Christine Melton Adrien Giraux Post production Art direction assistants KG Film Kristine Bech Sørensen, Mathias Brochorst

Interpassivities was produced in Support for Interpassivities provided by collaboration with the Royal Danish OBEL Foundation, Statens Kunstfond, Ballet in Copenhagen. The NY premiere of Louis-Hansen Fonden, Beckett Fonden, Interpassivities was made possible in part Danish Arts Foundation, Queen by subsidized rehearsal space at Center for Margarethe and Prince Henrik Performance Research. Foundation, KVADRAT OG, Consulate General of Denmark, New York Galerie Perrotin, and the Royal Danish Ballet. ABOUT Interpassivities avatars, and projecting this avatar into would like to help and reach out, all of others. In the same way, other beings various places they wish to visit, wherever this is being denied you. You cannot become a tool for our own voyeurism, webcams were in place. Of all the possible act, other than donating money online, appropriation, and satisfaction. Interpassivities, originally produced by locations to have selected, the Facebook as the medium dictates your modus the Royal Danish Ballet in Copenhagen, team chose to promote this tool by inviting operandi. Watching is the only possible Interpassivities is Jesper Just’s most explores notions of human relations and voyeuristic looks at flood-devastated areas way to “be present.” As if watching elaborate performance to date and communication, labor, and borders under in Puerto Rico. This kind of “human HD cinema on your phone screen, the continues his line of corporal and the pressure of current economic and relations” formed by things, with “on-site” disaster becomes entertainment; whether architectural examinations. As in his technological conditions. Touching on attendance is, to a large extent, what footage may cause one to be dazzled, previous works Intercourses (Danish two main conceptual anchors—Jorge Luis this performance is about—interpassive to cry, sympathize, or agonize in the Pavilion, 2013) and Servitudes (One Borges’ fable “On Exactitude in Science,” communication. “Interpassivity,” as coined pain of others, in any event, one lacks World Trade Center and Palais de Tokyo, involving a map so detailed it is as large by Robert Pfaller and Slavoj Žižek, is interoperability and is left impotent. 2015), the physical installation of the as a territory itself; and the notion of the outsourcing of one’s emotions to be Human communication shall only work intervenes within the existing “interpassivities,” as coined by Robert carried out through another object. It is the be pixelated. exhibition space by restructuring it. Pfaller and Slavoj Žižek as human action delegated consumption of an experience based on the outsourcing of emotions and by this source. Communication being held Interpassive notions translate into These works forged a connection feelings—this multi-layered work slowly between one such source and another, is the performance arena; participants, between the content of the films and unfolds in the performance arena. referred to as interpassive. whether viewers, dancers, or migrant their alternate manifestation in physical workers, are all present. This shared space, echoing themes of ableism and The musical soundscape echoes this What Social VR Tool Spaces was offering attendance tackles the idea of delegated challenged bodies in fragmented spaces. concept in an encounter between the live was the opportunity to be part of worldly performance, which contrasts with The spatial investigation, followed by the instruments and cinematic recordings events, shared with your friends, through the idea of performance as it relates physical one, questioned corporal and of Kim Gordon, former bassist in the your personalized avatar, without to delegated consumption. Within this geographical boundaries as well as the legendary band Sonic Youth, creating leaving your armchair, to have your context, the roles of agency, authenticity, viewer’s access and ability to act within sounds using the structure of the US/ own customized avatar traveling around and participation are questioned. The the work’s domain. Mexico border as instrument. As the world and sharing this experience topographic landscape acts both as media collide, inherent boundaries, with your online community. But what performance space and virtual space —Noam Segal, Curator contradictions, and hierarchies between does this “sharing” entail? What sort (within the films); this compression the real and the virtual worlds are of “experience” does this bring about? of time and space fuses the inherent challenged—reality becomes a rendering And what are the social and emotional boundaries and hierarchies of reality and of experience. ramifications of outsourcing one’s being, virtual reality. especially to areas where human tragedy Interpassivities was nominated for and suffering are taking place? Putting Differing body paradigms are on display, the Danish Reumert Prize, the most aside the possible sensationalization shifting between the surrounding films prestigious award given within the world of human suffering which inevitably and the actual performance arena; of theater and performance in Denmark, in results, basic human social dynamics are aestheticized body as a source of 2017 in the category of best performance reduced to a mechanized communication enjoyment, practical body as a tool of and received first prize as the best dance made between screens, cameras, and labor, and gendered and sexualized performance of the year along with a algorithms. Relations between people are bodies emphasized by filmic space take nomination for best scenography. displaced and replaced by relations formed on a fetishized tone. Once bodies are between objects. What is the long-term removed from any context, and from Curator’s Introduction meaning of it? the experience of sharing time and space with the audience, the body is In the fall of 2017 Facebook launched its Imagine yourself, searching in the not something viscerally experienced Social VR (Virtual Reality) Tool Spaces, aftermath of Hurricane Maria with your but merely observable and prone to our an interactive, online performance, part avatar; shocked, taken aback by the projections. Similarly, the objectified self, disaster sightseeing, part commercial horrible images, by the lack of words to as suggested by products like Social VR promotion. Viewers were introduced to express one’s survival struggle, you are Tool Spaces, is becoming an observable the option of using VR head gear, of placed in a passive position. Even if you object and is prone to the projections of transforming their identities into private and identity. His early films explored scene. With his background as a classical Panacée/Moco (Montpellier), among many and circumvented the complicated musician, he has won the Danish Music others. She writes regularly for academic representations of masculinity in Hollywood Awards and nominations for the Nordic publications and artists’ catalogues, and her cinema and throughout popular culture and Music Prize, the National Danish Critics’ upcoming articles will appear in Perspectives Who’s challenged viewers’ expectations of those Award, and Danish composer of the year. on Negotiating Conflict and Upholding conventions. Key to all Jesper Just’s films Rosenbaum has received commissions for Integrity (Janet Marstine and Svetlana is the question of representation. How do works in film, theater, and performance at Mintcheva, Editors, Routledge Press, New we create images—and how do the images, the Royal Danish Theatre, Palais de Tokyo, York) and in Pope.L’s exhibition catalogue in turn, conjure ideas, expectations, and Hotel Pro Forma, and the Royal Danish One Thing After Another, for Pope.L’s first Who conventions? What is interesting to Just Ballet. Previous work with Jesper Just solo museum show in France, which she about representation is that it never merely includes Servitudes (Palais De Tokyo, 2015) co-curated with Nicolas Bourriaud. JESPER JUST represents. Rather it actively performs. and Sirens Of Chrome (2010). Concept/Direction/Choreography/Set design And this question of representation and performance doesn’t apply only to people JESPER N. JØRGENSEN Jesper Just was born in Copenhagen in or characters. Location too can perform, as KIM GORDON Production and Development 1974 and lives and works in New York. can language, sex, gender, and music. Just Music Composition He attended the Royal Danish Academy interrogates these conventions—whether Jesper N. Jørgensen is a producer, of Fine Art in 1997 and graduated in related to society or to filmic narrative—by Kim Gordon was born in Rochester, NY, and curator, and editor, living in Copenhagen, 2003. A filmmaker and sculptor, working creating highly ambiguous universes. Music grew up in Los Angeles. A major figure in the Denmark. From 1997—2001 he initiated with multi-channel video installation, often plays a key role in adding an element American indie rock scene of the 80s and and managed the art agency 1% Artspace architectural interventions, and performance, of oddness and absurdity by creating an onward, Gordon is best known for her work and Magazine, and from 2001—02 was he represented Denmark at the 55th apparent contradiction between the narrative with the influential group Sonic Youth. She curator at Schirn Kunsthalle in Frankfurt International Art Exhibition, 2013 Venice and the soundscape. A thorough attention is was as well regarded for her writings and am Main, Germany. From 2003—06, Biennale. His work has been the subject also paid to materials, surfaces, and spatial interviews as for her music; she was willing he was associate curator for Nils Staerk of solo exhibitions at such diverse and materiality resulting in a heightened sense of to discuss feminism in a way that was as Contemporary Art and since then has been international institutions as the Museum of physicality in the viewer. thoughtful and direct as Sonic Youth’s music. working as an independent producer, editor, Contemporary Art (Detroit, MI), Hammer Gordon was also willing to explore the outer and curator of art exhibitions for galleries, Museum (Los Angeles, CA), the Miami Art limits of experimental rock music, both with museums, and institutions in Denmark and Museum (Miami, FL), Stedelijk Museum EA VERDONER Sonic Youth and her various side projects. abroad. Concurrently, he has also been (Amsterdam), the Brooklyn Museum, BALTIC Dramaturg/Assistant Choreographer Her most advanced work helped to link indie engaged as the producer of documentary Center for Contemporary Art (Gateshead, rock with the true musical avant-garde. film productions, public art projects, and UK), Palais de Tokyo (Paris, France), Eye Ea Verdoner, choreographer and visual publications for festivals including the Filmmuseum (Amsterdam), and Museo artist, was educated in New York at ICP and Copenhagen Art Festival. Anahuacalli (Mexico City). Just’s work is in Copenhagen at the National School of NOAM SEGAL featured in numerous permanent public Contemporary Dance and received a master’s Curator/Producer collections including Louisiana Museum degree in performance design. Previous work JIN ZHANG of Modern Art (Humlebæk, Denmark), the includes Tina Tarpgaard, Alvin Ailey, Tim Noam Segal is an independent curator and Dancer Metropolitan Museum (New York), the Rushton, Martin Forsberg, Ari Rosenzweig, writer based in Brooklyn. Segal holds a BA Guggenheim Museum (New York), MoMA as well as ongoing work with Danish in philosophy and political science, an MA Jin Zhang was born in Jiangxi, China. She (New York), Tate Modern (London), The composer August Rosenbaum and artist in philosophy, and a PhD in hermeneutics began her professional ballet training at Danish National Gallery (Copenhagen), Alexander Tovborg. Verdoner lives and works and culture studies. Her practice is focused the age of 10 at Beijing Dance Academy Moderna Museet (Stockholm), Kiasma/ in Copenhagen. on curating, contextualizing, and producing and joined Hong Kong Ballet as a member Museum of Contemporary Art (Helsinki), and new media and performance work. Segal of corps de ballet in 2012. Her repertoire Detroit Institution of Arts (Detroit, MI), among has worked as guest curator with various with Hong Kong Ballet included Giselle, many others. AUGUST ROSENBAUM museums and non-profits around the world. Cinderella, Theme and Variations, The Music Composition Her exhibitions have been presented at Nutcracker, Sleeping Beauty, and The Merry Just has become internationally renowned Palais de Tokyo (Paris), Performa NYC, Widow. Zhang placed in the top 12 in the for works which explore the ambiguous August Rosenbaum, pianist and composer, is Museum of Contemporary Photography 2011 and 2014 Youth America Grand Prix territory of gender, desire, relationships at the forefront of the Danish music and arts (Chicago), Tel Aviv Museum of Art, and La New York finals, and received first place in the World Ballet Competition in 2014. She has also worked with choreographers also was in the top five in the 2010 Beijing , Wayne McGregor, CONNOR HOLLOWAY Special Thanks! International Competition. Zhang joined Yuri Possokhov, Benjamin Millepied, and Dancer ABT Studio Company in September 2014 Broadway’s iconic Gillian Lynne. Simon’s Special thanks to: Dorit Chrysler, Eik where her repertory included Gulnare and an acting credits include off-Broadway’s I Count Connor Holloway, born in Louisville, KY, Chrysler Just, Donald Ryan, Peggy odalisque in Le Corsaire and roles in Stephen the Hours at La MaMa, Theater Row, and came to New York City by way of Boston to Leboeuf, Clara Ustinov, Bobbi Jene, Mills’ Hush and Antony Tudor’s Little the New York International Fringe Festival. pursue a career in ballet. After training at Pierre Huyghe, Megan LeCrone, Harrison Improvisations. She joined American Ballet Her featured film roles include Another Year the Jacqueline Kennedy Onassis school for Ball, Skylar Brandt, Alban Lendorf, Theatre as an apprentice in January 2015 Together and Échappé. In 2015, Simon a semester, Connor joined the ABT Studio Charlotte Farrell, Jenny Schlenzka, becoming a member of the corps de ballet in signed as a Capezio ambassador and is Company where he danced a wide repertoire Holly Shen, and Ori Gilead. June of that year. recognized as an international manager, of classics, contemporary, and new works guest speaker, and ballet coach. under the direction of Kate Lydon. In the Spring of 2014, Connor was invited to join ELINA MIETTINEN the main company, where he currently Dancer ALEXANDRE HAMMOUDI remains as a member of the corps de ballet. Dancer In addition, Connor is a member of the ABT Elina Miettinen was born in the Soviet Union marketing team where he runs the Instagram and grew up in Finland. She studied ballet Born in Paris, France, Alexandre Hammoudi account, @abtofficial. Connor is very excited at the Helsinki Dance Institute and received began his training at seven with Max Bozzoni to be performing at BAM with Jesper Just on a Pro Dance Scholarship. She attended of the Paris Opéra Ballet. He continued this amazing project. international ballet competitions in Mora his training at the Academy of Dance Salle (Sweden), Grasse (France), and New York Playel in Paris from 1996—99, received as well as summer courses in Paris, Cannes, further training at the CAMERON MCCUNE and Copenhagen. Miettinen joined Finnish School in London, and at the School of Dancer National Ballet in 2006, but soon after that American Ballet. At 16, Hammoudi became was offered a contract with American Ballet a member of the National Ballet of Cuba and Born in Raleigh, NC, Cameron McCune Theatre where she danced for 10 years. toured South America with that company. began his ballet training at the age of eight Miettinen toured with the company around Hammoudi joined the ABT Studio Company at the Raleigh School of Ballet under the the globe performing in all of the company’s in 2002, entering the main company as an direction of Mary LeGere. He joined the classical productions as well as in the apprentice the following year, and becoming school’s pre-professional company, Raleigh works of Alexei Ratmansky, Twyla Tharp, a member of the corps de ballet in April Dance Theatre, at age 13, and began Paul Taylor, Anthony Tudor, Liam Scarlett, 2004. He was appointed a soloist in July studying privately with Gyula Pandi the Benjamin Millepied, and Lar Lubovitch. 2012. Hammoudi’s repertoire includes following year. McCune attended summer numerous premiere works with various programs at the Raleigh School of Ballet, critically acclaimed choreographers, and , and the School of ABIGAIL SIMON featured in classical roles such as Prince American Ballet and won a silver medal at Dancer Siegfried and ballroom Von Rothbart in Swan the Youth American Grand Prix in 2012. Lake, Romeo and Tybalt in Romeo and McCune joined ABT as an apprentice in Abigail Simon trained at the School of Juliet, Espada in Don Quixote, Albrecht in 2013 and became a member of the corps American Ballet and performed with Giselle, and Prince in The Nutcracker. de ballet in January 2014. McCune’s prior to joining the performances with American Ballet Theatre Joffrey Ballet and touring as a principal guest are sponsored by Brian Vincent in honor of artist. Her recent roles include Louise in Rob Phoebe Brantley. Ashford’s Carousel opposite Laura Osnes and Steven Pasquale, principal ballerina for the Chicago Lyric production of Capriccio staring Renée Fleming, Juliet in Prokofiev’s BAM®, Brooklyn Academy of Music, Next Wave®, and Teknopolis® are trademarks of Brooklyn Academy Romeo and Juliet, Valencian in The Merry of Music, Inc. © Brooklyn Academy of Music, Inc. Widow, and Balanchine’s Tarantella. Simon (2018). Kim Gordon Photo: Jesper Just Limited Edition Kim Gordon Print Photo: Courtesy of the Artist

Air bnb silverlake, 2018 Archival pigment print on Slickrock metallic silver paper 20 × 16 inches Edition of 50 Courtesy of the artist $525 Enigmatic musician, writer, actor, and visual artist Kim Gordon is partnering with BAM to release a new limited edition artist’s print. All proceeds benefit BAM programs.

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