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In Conversation

Ecstasy and Exorcism in Kimberly Bartosik’s I hunger for you

Kimberly Bartosik kicked off her professional career with a nine-year-long adventure dancing for the Merce Cunningham Dance Company (1987 – 1996), the work for which she then received a Bessie Award in 1997. Since then, she has been steadily and methodically building a choreographic body of work, characterized by a rigorously detailed exploration of physicality and a keen interested in creating multidisciplinary performance environments.

Fractured Dialogues: Juliana May’s Folk Incest

Juliana May’s performances negotiate the complexities of trauma. Within the choreographies themselves, however, May often decentralizes trauma and catharsis instead of overtly addressing them; aggression simmers underneath the dance, occasionally surfacing before giving way to the work’s other occupations.

The Shuffle

Tiffany Mills Company’s Blue Room, which debuted at the Flea Theater this September, seizes on the thrill of a life set to sound.

Finley's Current Politics, Loud and Clear

Karen Finley performed pieces from her most recent work Grabbing Pussy (2018) and a new text-performance, Parts Known, as part of the 2018 Brooklyn Book Festival. The works speak to “the resistance of not being depressed and moving forward with the experience of activism of the past.

NY Quadrille: Modern Dances, Fresh Views

ohn Jasperse kicked off the 2018 Quadrille, a series curated by Lar Lubovich in which a temporary square platform bridges the front of the regular Joyce stage and some front orchestra seats; viewers sit onstage on risers and in standard rear house seats.

Migratory patterns: Sasha Waltz's recent works

It is a brisk late-August day in Berlin and I am at the Radialsystem V, the former water purification plant flanking the banks of the river Spree, which the choreographer Sasha Waltz and her longtime collaborator and partner, the dramaturg Jochen Sandig, converted into a multipurpose art venue a decade or so ago.


The Brooklyn Rail

OCT 2018

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