MARIA HASSABI PREMIERE REVIEW


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Performa Magazine is a unique online magazine dedicated to contemporary performance across disciplines. From sustaining a pose for too long, not uncommonly, the bodies experience involuntary movements—some hesitation, some trembling. We continue to lead the field in the study and commissioning of live performance, highlighting its history and producing new live work that reflects the profound humanism at the heart of the artists with whom we work. The performance is ultimately centered on the revelation of the first and last gaze at—and by—the performers. After approximately eighty minutes, each performer gets once again aligned in an mirrored image of the one seen when the theater doors opened. The doors of the theater are closed and the initial composition of the performers remain, their back turned to the viewers. The original sound design by Alex Waterman is composed of what resembles white noise sounds, and include a song excerpt coming from another speaker, on the back of the stage. The image persists for minutes, immersed in the luminosity that comes from the walls.

On behalf of the Performa Board of Directors, staff, and our family of artists, thank you for your incredible generosity! The cast of Everything is Imaginable in conversation. The impact of the lighting design created by Tinkelman along with Hassabi is suddenly minimized, its effect seems to be diluted. Why Dance in the Art World? Georgia Sagri in conversation with Sarah Wang. Looking back at and ahead in !

The initial grandiosity of the piece gives marja for an intimate atmosphere between observer and performer, whose eyes eventually meet. What is seen in between is the development of a slow dance that never detaches itself from the ground.

The work brings on board dramaturge Scott Lyall and counts on the lighting haasabi of Zack Tinkelman, co-created along with Hassabi. A lively source for both historical and contemporary material, it features documentation, short essays, interviews, video, and audio exploring the Performa biennial and beyond. Reflections on Blackness, Dance, and Curation. We are pleased to announce the dates of the Performa 19 Biennial, which will run from Novemberat venues throughout New York City.

FlucT in conversation with Camila Nichols. Incidental sounds coming from the lighting equipment accompany the dance.

Still, for most of the time, it is silence that prevails allowing the incidental sounds originated in the theater itself to be heard. The performers, each dressed in different colors and styled by threeASFOUR, are all dressed in denim costumes composed of long-sleeved shirts and pants, accompanied by black shoes. Performa Magazine is a unique online magazine dedicated to contemporary performance across disciplines.

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It is like meditating on anticipation: As a special treat, if you become a member at any level inyou will be granted exclusive access to preview the prototype of our archives website! Photos by Paula Court.

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Hassabi sits on the floor wearing light blue, while Steijn, in beige, and Zins-Browne, in gray, are lying on the floor. Every gift, no matter the size, is significant support of Performa artists and the organization.

The doors of the theater are closed and the initial composition of the performers remain, their back turned to the viewers. Is This Good for You? Harakas, in magenta, and Biba Bell, in a bleached grey and cream outfit, are standing.

It makes the viewer look at those interstices that would not be perceived otherwise. Photo by Paula Court. We have also been hard at work on a new website, designed by SpecialOfferthat will launch in mid-January, On behalf of the Performa Board of Directors, staff, and our family of artists, thank you for your incredible generosity!

Why Dance in the Art World? When the doors of the theater open, the image seen from the foyer is magnificent: From sustaining a pose for too long, not uncommonly, the bodies experience involuntary movements—some hesitation, some trembling.

The shifts on the light did not last enough to reframe, modify, or reassure what was already seen, and its few alternations seemed unclear in purpose, yet too evident not to address one. The solos draw spatial relationships that are soon dissipated. The cast of Everything is Imaginable in conversation. The dance develops in slight movement shifts—inclining, crouching, standing, lying down, reclining—in between long pauses. Later on, what sounds like a reflector bulb loudly crisping entices certain tension in the audience.

Looking back at and ahead in !

Maria Hassabi talks about PLASTIC – Artforum International

From the seats, the flux of spectators resembles extras making their entrance out of a backstage. In fact, the pre-recorded soundscape overlaps the actual equipment noises and apparently comes from the speaker placed along with the stage lights on the left wall.

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The impact of the lighting design created by Tinkelman along with Hassabi is suddenly minimized, its effect preemiere to be diluted. Wim Wenders’ Pina and the Rhythm of Loss. Additionally, we completed a prototype website for future access to the vast Performa Archives, housed at NYU Fales Library hadsabi by a grant from the National Endowment for the Humanities.

The original sound design by Alex Waterman is composed of what resembles white noise sounds, and include a song excerpt coming from another speaker, on the back of the stage. Distilled from the glittering of its first moment, the dance starts revealing the humanity of each dancer: The audience leaves the space, carrying this updated image, whilst the performers remain onstage.

After approximately eighty minutes, each performer gets once again aligned in an mirrored image of the one seen when the theater doors opened. They are vulnerable, yet their presence stands stronger.

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The individuality of each dancer is revealed by the way each body copes with his or her solo and the idea around the meaning of a premiere. The score modulates new images, slowly constructed, as the aligned frontality gains spatial depth and movement variations. As she attunes to and extracts the subtlety of her dance, we all can muse on what is revealed and transformed when dance and observer experience each other.

The image persists for minutes, immersed in the luminosity that comes from the walls. The score they performed clearly altered their physicality and presence, and their faces have dramatically changed.

Georgia Sagri in conversation with Sarah Wang. Please save the date, and stay in touch as we announce the exciting commissions and special productions for Performa 19 by emerging and established artists from around the world.