Meet us at Abrons Arts Center starting at 12pm today, Sunday, June 7th for four programs of experimental performances.
Don’t have tickets yet? Do not fear!
There’s still time to secure a seat to one (or more) shows, pending availability.
Ime Soul (fka Immanuel J) presents Scripts We Learn and Lines We Misremember. The work posits that the banality of evil is when hardship meets protocol. Loosely borrowing bodily percussive movement forms as well as text from pop songs, Ime Soul moves through financial negotiations with their credit union.
Satoshi Haga & Rie Fukuzawa/ binbinFactory presents Higan – The other shore. binbinFactory challenges itself to explore imaginary stories through movement, with or without props, creating a fancy and playful world of dance.
Imani Gaudin/ gaudanse presents new york, please, an exhaustive, blackly humorous plea for comfort, success, and relief from a city that feels like a bad habit that refuses to be quit.
Jil Guyon presents two films, After the End, animated from a single photograph using artificial intelligence and featuring a solitary woman draped in Spanish moss, suspended within a landscape that feels simultaneously ancient and apocalyptic. And Widow’s End, where the perils of isolation and climate instability meet in this split screen video set against the backdrop of a volcanic red rock quarry in southern Iceland.
Molly Ross will present a new dance with her brother, Patrick Ross, called Plaid Ashley.
Emilio Wettlaufer presents an excerpt of This of Mine, an ongoing solo born from an inner turmoil. By indulging oneself within states of extremity, this is an attempt to search for something better than what came before and what already exists now.
lumenbodies (Akane Little and Benja Thompson) present (softspells), a ritual space unfolding from the flesh of two trans lovers’ embodied and visual experiences of domesticity. Inspired by Carolee Schneeman’s Fuses, the bodies invoke Sapphic lineages while weaving together movement rituals, improvisational scores, and projected images of falling fabrics, intimacies of the flesh, and looks from cats.
Jil Guyon presents Threshold, which follows an unnamed woman confined to the rooftop of a Portuguese castle. To survive she inhabits the role of a modern-day Scheherazade—wielding seduction and cunning in a world where past and present, reality and imagination, danger and performance collide. The viewer is made witness and accomplice to a psychological duel that seeks catharsis through exposure.
Natalia Fernández presents dulzura, sagrada y hambrienta, a duet that investigates haunting insatiability. Through doubling, dulzura investigates the human propensity to experience intense desire, coupled with the modern phenomenon of incessant consumption of media, ourselves, and each other. What parts of ourselves do we repress in order to sit sweetly on someone else’s tongue?
Anya Liftig presents Animate/Inanimate. Performance Mix 40 marks Anya Liftig’s return to the New York stage for the first time in 10 years. Her new solo performance is grounded in the fragility of memory, disintegration, and unstable territories.
Kat Sotelo presents I AM THE BEST SLUT IN TOWN: a fever dream, a Filipino soap opera, a doo-wop-soaked battle for stardom. With an effervescent, ravenous appetite, a maniacal trio whirls in sugary pop choreography, CCTV video feeds, and desperate pageantry, captivating the audience with dewy-eyed fervor and an impulse to destroy. Sexuality becomes cultural currency, flashing between seduction and satire as the performers push themselves toward impossible perfection.
Morgan Gregory presents NEWNEWNEW, a performance-based work set within musical vignettes and scenic structures, which works to allegorize a story of excessive egotistical solution building. These vignettes utilize live sound building to create a mosaic that exposes misguided and exploited forms of aid intended for communities that have a historical lack of resources and promise. This work will explore the trajectory of aid and labor as it becomes increasingly assimilated into dominant capitalist superstructures, examining the degradation of function and community concern in favor of market value, status, and clout.
Marie Lloyd Paspe presents FRAGMENTS, an excerpt of a longer work titled STONE BELLY. This is a dance-theater performance that calls upon the wisdom of the Philippine babaylan’s mythology in the healing of their katawang lupa, Tagalog for earthly bodies, dis-membered from their homelands, environment, and each other. Inspired by a two-year research odyssey of the Philippine babaylans (precolonial shaman matriarchs whose traditions still persist today), the work involves dance and live sound as a shape-shifter between the parallels of the immigrant body and the land/water bodies of our earth.
Ahn Vo presents Study, Study More, Study Forever, which follows a performer working through research notes and inherited stories in real time, testing how they can be arranged into form. Rather than presenting concrete conclusions, the piece exposes the labor of translation itself, where confusion and ambiguity become the material from which structure is built.
PHOTO CREDITS: Photo 1 – Kat Sotelo photo by Justin Chauncey. Photo 2 – Satoshi Haga & Rie Fukuzawa/ binbinFactory photo by Whitney Browne. Photo 3 – Molly Ross photo courtesy of the artist. Photo 4 – Jil Guyon photo courtesy of the artist. Photo 5 – Marie Lloyd Paspe photo by Hollis King.
evan ray suzuki, photo by Elyse Mertz
“Performance Mix is such a great resource, and I was really grateful to be supported in presenting two of my works this year! I think the real multiplicity of artists involved in all senses is a continued strength of the program.”
– evan ray suzuki
New Dance Alliance
182 Duane Street
New York, NY 10013
(646) 510-1824
All venues are wheelchair accessible.
