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Merce Cunningham Dance Company
Cal Performances Presents Program Friday, November 7, 2008, 8pm Merce Cunningham Dance Company Saturday, November 8, 2008, 8pm Friday, November 14, 2008, 8pm Saturday, November 15, 2008, 8pm Dancers Zellerbach Hall Brandon Collwes, Julie Cunningham, Emma Desjardins, Holley Farmer, Jennifer Goggans, Daniel Madoff, Rashaun Mitchell, Koji Mizuta, Marcie Munnerlyn, Silas Riener, Merce Cunningham Dance Company Daniel Squire, Robert Swinston, Melissa Toogood, Andrea Weber Musicians David Behrman, Loren Dempster, Aurora Josephson, John King, Takehisa Kosugi, Stephan Moore, William Winant, Christian Wolff Choreography Merce Cunningham Founding Music Director John Cage (1912–1992) Music Director Takehisa Kosugi Assistant to the Choreographer Robert Swinston Executive Director Trevor Carlson Chief Financial Officer Lynn Wichern Archivist David Vaughan Company Manager Geoffrey Finger Production Manager Davison Scandrett Sound Engineer & Music Coordinator Stephan Moore Lighting Director Christine Shallenberg Wardrobe Supervisor Anna Finke Director of Special Projects Kevin Taylor Robert Rauschenberg (1925–2008) shared a long and rich history of collaboration with Merce Cunningham, dating from 1954 to 2008. The Merce Cunningham Dance Company dedicates Merce’s 90th birthday season to the life of Robert Rauschenberg. Major support for the Merce Cunningham Dance Company’s 2008–2009 season has been provided by American Express Company, Booth Ferris Foundation, Carnegie Corporation of New York, Daniel Madoff and Julie Cunningham inXOVER . Photo by Kawakahi Amina. Sage and John Cowles, Judith and Alan Fishman, The Goldman Sachs Foundation, HRK Foundation, JCT Foundation, Low Road Foundation, the Andrew W. Mellon Foundation, Jacqueline Matisse Monnier, New England Foundation for the Arts, Princess Grace Foundation-USA, Prospect Hill Foundation, These performances are made possible, in part, by the American Express Foundation. -
Jonah Bokaer X Daniel Arsham
JONAH BOKAER X DANIEL ARSHAM: RULES OF THE GAME ORIGINAL SCORE BY PHARRELL WILLIAMS CO-COMPOSED AND ARRANGED BY DAVID CAMPBELL Thursday, November 16, 2017, at 7:30pm Colwell Playhouse PROGRAM JONAH BOKAER X DANIEL ARSHAM RULES OF THE GAME PERFORMERS Jonah Bokaer Albert Drake Wendell Gray II Laura Gutierrez James Koroni James McGinn Szabi Pataki Sara Procopio Betti Rollo RECESS (2010) Choreography & Direction: Jonah Bokaer Performance: Jonah Bokaer, James McGinn Scenography: Daniel Arsham Music: Stavros Gasparatos Lighting Design: Aaron Copp Costume Design: Richard Chai Stage Management: Julie Skrzypek Lighting Supervision: Naomie S. Winch WHY PATTERNS (2011) Choreography & Direction: Jonah Bokaer Performance: Laura Gutierrez, James McGinn, Szabi Pataki, and Sara Procopio Scenography: Snarkitecture Music: Why Patterns by Morton Feldman (1978), Catch Wave by ARP / Alexis Georgopoulos (2011) Lighting Design: Aaron Copp Costume Design: Richard Chai Stage Management: Julie Skrzypek Lighting Supervision: Naomie S. Winch Catapult/Scenic Supervision: James Koroni 20-minute intermission RULES OF THE GAME (2016) With an Original Score by Pharrell Williams Arranged, Orchestrated, and Co-Composed by David Campbell for The Dallas Symphony Orchestra Choreography & Direction: Jonah Bokaer Scenography: Daniel Arsham Original Recording & Exclusive Recording of The Dallas Symphony Orchestra at the May 17, 2016 Premiere, SOLUNA International Music & Arts Festival Performance: Albert Drake, Wendell Gray II, Laura Gutierrez, James Koroni, James McGinn, Szabi Pataki, Sara Procopio, and Betti Rollo Lighting Design: Aaron Copp Costume Design: Chris Stamp / STAMPD Stage Management: Julie Skrzypek Lighting Supervision: Naomie S. Winch RULES OF THE GAME was commissioned by the Soluna Festival of Dallas with additional co- commissioning support from the Brooklyn Academy for Music for the Next Wave Festival, Krannert Center for the Performing Arts/University of Illinois at Urbana-Champaign, and Center for the Art of Performance at UCLA. -
DANIEL ARSHAM STORM Galerie Perrotin, Paris / 3 November - 22 December 2012 Galerie Perrotin, Paris / 3 Novembre - 22 Décembre 2012
from left to right / de gauche à droite : 1) “Mooncut”, 2012, Gouache sur calque / Gouache on mylar, 144,5 x 189 x 6 cm / 56 3/4 inches x 6.2 feet x 2 1/2 inches 2) Vue de l’exposition / View of the exhibition Daniel Arsham STORM, Galerie Perrotin, Paris, 3 November - 22 December 2012. Photo : Guillaume Ziccarelli DANIEL ARSHAM STORM DANIEL ARSHAM STORM Galerie Perrotin, Paris / 3 November - 22 December 2012 Galerie Perrotin, Paris / 3 novembre - 22 décembre 2012 In August of 1992, Daniel Arsham was nearly killed in a hurricane in Miami. This En août 1992, Daniel Arsham a réchappé d’un gigantesque ouragan à Miami. being the 20th anniversary of that event, the experience has provided the initial Cette année marque les vingt ans de ce terrible événement qui a inspiré cette inspiration for this exhibition titled STORM. Witnessing the dramatic and destruc- exposition intitulée STORM. Témoin des conséquences dramatiques et désast- tive possibilities of nature and its impact on human constructions, Arsham has reuses de la nature et de son impact sur les constructions humaines, Arsham a created a new series of his architectural interventions that expand on his ability réalisé une nouvelle série de ses interventions architecturales qui manifeste sa to make architecture perform the unexpected. capacité à provoquer de l’inattendu par l’architecture. In much of the work in the show, Arsham takes the destructive energy he ob- Dans la plupart des oeuvres de l’exposition, Arsham exploite l’energie destruc- served in the storm and reforms it to new and imaginative purposes, creating an trice observée lors du cyclone et la soumet a des usages singuliers et fertiles, uncanny context though aberrant perceptions : a clock moves on the wall creating créant ainsi un contexte étrange à travers des perceptions aberrantes: une hor- folds that partially conceal it (“Sideways clock”) ; a wall as a sheet blows over a loge bouge sur le mur formant des plis qui la cache partiellement (« Sideways figure (“Hiding Figure”); a mirror disappears behind a moving wall (“Mirror Slit”). -
Daniel Arsham
Chiho Aoshima, Daniel Arsham, Hernan Bas, Sophie Calle, Maurizio Cattelan, Peter Coffin, Johan Creten, Matthew Day Jackson, Wim Delvoye, Elmgreen & Dragset, Lionel Estève, Bernard Frize, Giuseppe Gabellone, Gelitin, Duane Hanson, Jesper Just, Bharti Kher, Kolkoz, Klara Kristalova, Guy Limone, Keegan Mchargue, Jin Meyerson, Mariko Mori, Farhad Moshiri, Mr., Takashi Murakami, Martin Oppel, Jean-Michel Othoniel, Paola Pivi, Michael Sailstorfer, Aya Takano, Tatiana Trouvé, Piotr Uklanski, Xavier Veilhan, Peter Zimmermann, ... 76 rue de Turenne 75003 Paris T : +33 (0)1 42 16 79 79 [email protected] 10 impasse Saint Claude 75003 Paris Web : www.galerieperrotin.com Daniel Arsham Animal Architecture 10 Impasse Saint-Claude : 20 March - 7 May, 2010 Galerie Emmanuel Perrotin is pleased to present the solo show of Daniel Arsham entitled Animal Architecture from 20 March to 15 May 2010. Daniel Arsham’s work straddles the line between art, architecture and performance. He has worked across disciplines with Merce Cunningham, Hedi Slimane, Bob Wilson, and Jonah Bokaer. This show, entitled Animal Architecture weaves a multitude of materials and references into an intricate tableau, creating a window into Arsham’s diverse studio practice and the ideas behind his work. Architecture is a prevelant subject throughout the artwork of Daniel Arsham: environments with eroded walls and stairs going nowhere, landscapes where nature overrides structures, and a general sense of playfulness within existing architecture. His drawings of ruins in the middle of a luxurious and dominant nature reveal his fascination for the classical painters such as Nicolas Poussin and Hubert Robert. Nevertheless, the ruins he describes are those of the modernists buildings, evoking Mies van der Rohe and Le Corbusier. -
Daniel Arsham
DANIEL ARSHAM Born 1980, Cleveland Ohio Lives and works in New York Solo Exhibitions 2020 Perrotin, Paris (upComing) 2019 Musée Guimet, Paris Now in the Present, HOW Museum, Shanghai The Source: A Catalog of Late-220th-Century American Relics, Cranbrook Art Museum, Detroit Connecting Time, MOCO Museum, Amsterdam Static Mythologies, Ron Mandos, Amsterdam 2018 3018, Perrotin, New York Colour Shadow, Perrotin, Tokyo Architectural Anomalies, Nanzuka Gallery, Tokyo Moran Moran, Los Angeles Moon Stone, Wall House Museu, Saint Barth 2017 The Angel of Repose, Perrotin, Paris Moving Architecture, VDNKh, MosCow It Speaks, Oi Futuro, Rio de Jainero Lunar GarDen, Visionaire, New York Crystal Toys, Galerie Perrotin, Seoul, Korea HOURGLASS, High Museum, Atalanta, GA 2016 CIRCA 2345, Galerie Perrotin, New York My First Show in Japan, Year 2044, NANZUKA, Tokyo Rules of the Game, performanCe, Winspear Opera House, Soluna Festival, Dallas, TX, touring to Brisbane Festival, Brisbane; Lyon Biennial de la Danse, Lyon; Brooklyn ACademy MusiC, Next Wave Festival, Brooklyn Moons anD Music, Eden roCk Gallery, St. Barths, FrenCh West Indies The Future Was Then, SCAD Museum of Art, Savannah, GA 2015 The Future Was Written, Young Arts, Miami, FL Fictional Archeology, Galerie Perrotin Hong Kong Parades Móveis, Baro Galería, São Paolo, Brazil Formless Figure, Watermill Center, Watermill, New York Remember the Future, Contemporary Art Center, Cincinnati Curtain, performanCe in Collaboration with Jonah Bokaer, Perez Art Museum Miami Why Patterns, set design and performance, -
Daniel Arsham
Design Miami/: Daniel Arsham Enjoying the open doors that fame and influence have brought him, Arsham collaborates with a diverse range of clients – from Porsche and Selfridges, to Jay-Z and the French Ministry of Culture. He brings a brand new furniture collection to Design Miami/. By Helen Chislett December 3, 2019 Daniel Arsham. COURTESY: Friedman Benda and Daniel Arsham PHOTOGRAPHY: James Law Chislett, Helen. “Design Miami/: Daniel Arsham,” The Design Edit, December 3, 2019. IN 1992, WHEN Daniel Arsham was twelve, an event occurred that was to change his life. Hurricane Andrew struck the Bahamas, Louisiana and Arsham’s native Florida, becoming the most destructive hurricane to ever hit South Florida in terms of structures damaged and destroyed. It stripped thousands of homes of all but their concrete foundations, including the Arsham family home, “My parents were distraught. They lost all of their possessions as well as the house. We lived in a trailer in our back yard for months while it was rebuilt, but for us children it was a Wonderland of no electricity, no cars, no school and cooking on an open fire.” For Arsham, witnessing his home be annihilated by Hurricane Andrew and then being rebuilt in replica over the months to come was a seminal influence. His fascination with deconstruction and reconstruction was seeded in that episode. He thought of studying architecture on leaving school, but opted instead to study art at the Cooper Union (CU) in New York City. This college was founded by the inventor, industrialist and philanthropist, Peter Cooper, in 1859 and was remarkable for Cooper’s insistence on making the school free for the working classes, for operating a no colour bar and for being open to women. -
Three Cases of Amnesia Jonah Bokaer
JONAH BOKAER WED / SEPT 07 / 7:30PM the curtis r. priem experimental media empac.rpi.edu and performing arts center 518.276.3921 Three Cases Of Amnesia Jonah Bokaer — An evening consisting of three technology-infuenced solo dance and media A dancer, choreographer, and media artist, Jonah Bokaer is one of this generation’s works. False Start, Charade, and Nudedescendance are choreographed and performed most important dance innovators, pursuing the relationship between chore- by Jonah Bokaer through the use of digital choreographic software and 3D ography and technology. His keen sense for choreography has always seamlessly animation. looped innovative technologies like animation software into conceptually rich dances that push the formal boundaries of performance. I couldn’t be more False Start (2007) excited to introduce our audience to Jonah’s sensitivity and intellect, not only “self description is a calamity.” as an artist but also as a person. Both are evident in the way that he seriously, – Jasper Johns yet humorously, approaches Tree Cases Of Amnesia. Charade (2006) In this work, Jonah combines three of his iconic solos—False Start, Charade, “an empty canvas is full.” and Nudedescendance. Rarely performed in the United States, the program – Robert Rauschenberg showcases the choreographer’s pioneering work with 3D animations. Where does a movement begin? Where does it end? What, and who, does it leave Nudedescendance (2005) behind? Jonah uses a digital avatar to compose body movements that he “I have forced myself to contradict myself in order to avoid conforming to might not discover working with a physical person, and he then transposes my own taste.” that choreography onto his own body for live performance. -
DANIEL ARSHAM “Circa 2345”
DANIEL ARSHAM “Circa 2345” September 15 - October 22, 2016 Tuesday - Saturday, 10am - 6pm “Blue Calcite Football Jersey” 2016. Blue Calcite, pigment, hydrostone. 41 × 34 × 3 1/2 in / 104.1 × 86.4 × 8.9 cm Daniel Arsham “Circa 2345” Galerie Perrotin, New York September 15 - October 22, 2016 Galerie Perrotin is pleased to announce Daniel Arsham’s In this exhibition Arsham presents on the first floor new first solo show with the gallery in New York. The exhibition works from 2016, such as Blue Calcite Basketball Jersey, will feature sculptural pieces, breakthrough use of color as Blue Calcite Basketball Tower, and Blue Calcite Bulls well as a large scale installation. This will be the artists Jacket amongst others. By using this particular crystalline eleventh show with Galerie Perrotin. calcite, each piece radiates an intense blue, the shock of color opening up Arsham’s artistic lexicon, a byproduct Daniel Arsham’s sculptural works are poetic constructions from his research and results into correcting his inherent made up of juxtapositions of form and material: a 16mm colorblindness. Arsham introduces in this exhibition color film projector rendered in ash and hydrostone, or a 20th in his sculptural work, as well as a combination of different century iconic guitar, formed out of white glacial rock dust, its elements, for the first time. crumbling areas integral to its haunting beauty. Transforming compressed elemental materials such as stone, crystal and On the lower floor of the gallery, the viewer encounters an ash into carefully chosen important cultural artefacts, Arsham immersive architectural installation that hints, like a lot of offers a brief glimpse into our current culture and its signifiers, the artist’s oeuvre, at a participant and potential narrative as if seen far off into the future. -
Daniel Arsham “Fictional Archeology” 丹尼爾•阿爾軒:《Fictional Archaeology》
“The Dying Gaul Revisited”, 2015. Selenite, hydrostone. 86 x 160 x 71 cm / 33 27/32 x 63 x 27 15/16 inches Courtesy Galerie Perrotin DANIEL ARSHAM “FICTIONAL ARCHEOLOGY” 丹尼爾•阿爾軒:《FICTIONAL ARCHAEOLOGY》 Galerie Perrotin, Hong Kong 貝浩登(香港) September 11 - October 10, 2015 2015年9月11日至10月10日 Galerie Perrotin, Hong Kong is pleased to present the tenth exhibition 貝浩登(香港)很榮幸為1980年出生的美國藝術家丹尼爾•阿 dedicated to American artist Daniel Arsham (b. 1980), which features 爾軒舉辦第十次個展。此次展覽涵蓋五件受蝕人像和肢體雕 five eroded sculptures of contemporary human figures and body parts 塑,以及兩台似是未來古蹟的現代物品模型裝置 。 and two installations displaying casts of modern artifacts like future archeological finds. 承接之前《THE FUTURE IS ALWAYS NOW》(2014年, 貝浩登(巴黎))和《#FUTUREARCHIVE》(2013年,貝 Following Daniel Arsham’s two previous solo shows at Galerie 浩登(香港))兩次個展,今次展覽繼續展示藝術家如何運 Perrotin, Paris and Hong Kong – “The Future is Always Now” 用四年前的地質物料,表達「虛擬考古」(FICTIONAL AR- and “#FUTUREARCHIVE” in 2014 and 2013, respectively – this new CHAEOLOGY)意念。此系列作品持續不斷,靈感來自2011 exhibition furthers the artist’s current exploration of geological materi- 年阿爾軒到復活節島觀察考古學家發掘古蹟。看着他們從地 als that he began using four years ago to give a concrete body to his 下掘出文物,阿爾軒想到考古工作某程度也是一種虛擬。為 concept of “Fictional Archeology”. In fact, his travels to Easter Island 了重塑古物真相,考古學家需要提出完整或局部的猜想,但 in 2011, where he spent some time observing archeologists at work 誰又知道真正發生了甚麼? in a dig site, provided the creative kernel for this ongoing series. While the archeologists there were pulling past artifacts out of the ground, 不管真相如何,講故事或訴說往事都不是阿爾軒的本意。他 Arsham came to understand that archeology was also, in a way, a 只想把考古的虛擬性融入創作,要觀者幻想身處未來,從另 work of fiction. Archeologists need to invent - at least in part - a story 一角度回望眼前的人造古物。為了營造神秘古老氛圍,阿爾 to reconstruct a plausible truth for their discoveries. -
Choreographing a Collection
JONAH BOKAER ARTS FOUNDATION Choreographing a Collection15th Anniversary Choreographing a Collection JONAH BOKAER ARTS FOUNDATION ‘Choreographing A Collection’ The Jonah Bokaer Arts Foundation celebrates its 15th Anniversary with an auction of fifteen works from the Foundation’s Art Collection, a benefit collection. Each selected piece entered the collection under unique personal and professional circumstances spanning the years since the company was founded in 2003. It is a great honor to present to you this inspired catalogue designed by Ofer Wolberger and produced by Rachel Libeskind. ‘Choreographing A Collection’ celebrates the artists represented in the collection. Their multi-disciplinary art practices often express instability and dislocation, but at the same time, render a shelter for creativity. Several thematic threads suggest concepts of measurement and chance, duality and order that in the words of Jonah referring to the practice of Terry Winters, ‘play with the grid of space and time’. Jonah Bokaer has ‘choreographed’ a collection inspired by friendship and artistic passion. In the no-man’s-land between intention and chance, a remarkable group of artists have staked a claim for experimentation that is determined and clear in purpose while keeping the possibility of chance and serendipity always present. By acquiring any one of these notable works you contribute to making the wide breadth of Jonah’s ground-breaking projects possible, for which we are infinitely grateful. Turid Meeker CPR - Center for Performance Research, Brooklyn, NY Photo © Frank Oudeman 5 1. Daniel Arsham Holding Hands, 2015 Selenite, Hydrostone 17 x 14 x 5 inches Daniel Arsham and I met on the stage of the Adrienne Arsht Center for the Performing Arts of Miami Dade County in March 2007, during which time he realized one of the scenographies for Merce Cunningham’s eyeSpace (2007). -
Jonah Bokaer CV
JONAH BOKAER Born 1981 in Ithaca, New York Lives and works in Brooklyn, New York and Hudson, New York EDUCATION 2007, The New School, Masters of Arts in Visual & Media Studies 2000, University of North Carolina School of the Arts, Bachelors of Arts in Contemporary Dance & Performance 1996, Cornell University, Dance & Performance PROFESSIONAL DANCE HISTORY 2008, Tino Sehgal, New York, New York 2000–2007, Merce Cunningham Dance Company, New York, New York 2004–2005, John Jasperse Company, New York, New York 2005–2006, David Gordon Company, New York, New York 2005, Deborah Hay Dance Company, Austin, Texas SOLO EXHIBITIONS 2020 About An Arabesque, signs and symbols, New York, New York SELECTED PERFORMANCES AND GROUP EXHIBITIONS 2020 Lahore Biennial, curated by Hoor Al Qasimi, Lahore, Pakistan 2019 Dry Docking, with Rachel Libeskind, Hudson Eye, Hudson, New York 2018 Double Helix, with Rachel Libeskind, Mana Contemporary, Miami, Florida Odalisques, Ackland Art Museum, Chapel Hill, North Carolina Une oeuvre un regard Les chasseurs d’alligator, Musée d’Orsay, Paris, France REPLICA, Delaware Art Museum, Wilmington, Delaware Did I Remember, Long Road Projects, Jacksonville, Florida 2017 The Disappearance Portraits, Cooper Hewitt, Smithsonian Design Museum, New York, New York The Metamorphoses, The Glass House, New Canaan, Connecticut Medardo Rosso: Experiments in Light and Form, The Pulitzer Arts Foundation, St. Louis, Missouri signs and symbols | 102 Forsyth Street, New York, NY | www.signsandsymbols.art 2016 Jonah Bokaer: Platform, Parrish Art Museum, Watermill, New York Opus You Live Stream, Florence Griswold Museum, Old Lyme, Connecticut Concordan(s)e Festival, Foundation Mona Bismarck American Center, Paris, France FIAC Hors Les Murs Festival, Foundation Mona Bismarck American Center, Paris, France Cuerpos, Materia, y Alma: Lynda Benglis, Jonah Bokaer, Toyo Ito, Museo Internacional del Barroco, Puebla, Mexico Jonah Bokaer: REPLICA, Nerman Museum of Contemporary Art, Overland Park, Kansas Rules Of The Game, Solomon R. -
Rules of the Game
2016 BAM Next Wave Festival #RulesOfTheGame Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Katy Clark, President Joseph V. Melillo, Executive Producer Rules Of The Game BAM Howard Gilman Opera House Nov 10—12 at 7:30pm Running time: approx. one hour & 45 mins, including intermission Jonah Bokaer and Daniel Arsham With an original score by Pharrell Williams Arranged and co-composed by David Campbell RECESS (2010) Why Patterns (2011) —Intermission— Season Sponsor: Rules Of The Game (2016) Leadership support for Rules Of The Game Performers provided by Agnes Gund. Jonah Bokaer, Wendell Gray II, Laura Gutierrez, Support for the Signature Artist Series provided James Koroni, Callie Lyons, James McGinn, by Howard Gilman Foundation. Szabi Pataki, Sara Procopio, Betti Rollo Leadership support for dance at BAM provided by the Doris Duke Charitable Foundation and The Harkness Foundation for Dance. Major support for dance at BAM provided by The SHS Foundation. Rules Of The Game WENDELL GRAY II LAURA GUTIERREZ JAMES KORONI CALLIE LYONS JAMES MCGINN SZABI PATAKI SARA PROCOPIO BETTI ROLLO DANIEL ARSHAM JONAH BOKAER PHARRELL WILLIAMS Rules Of The Game RECESS (2010) Choreography and direction by Jonah Bokaer Performance by Jonah Bokaer, James McGinn Scenography by Daniel Arsham Music by Stavros Gasparatos Lighting design by Aaron Copp Costume design by Richard Chai Production management Santino Lo Stage management Julie Skrzypek Lighting supervision