January 12 & 13, 2018
we live in space
2520 W Jefferson Blvd, Los Angeles, CA 90018
What can I love? A country, an arm, a new brand? We scratch our hearts with the patience of a farmer in a glittering landscape. What is it that is me? What is it that is not me? How much freedom or limitation do I endure?
Limited seating – reserve HERE
$15 in advance/$20 at the door, as available
ENCAJE is a work about hypocrisy, and is in part inspired by Anis Nin Diaries. It is a work concerned in how unbalanced we are in our actions and thoughts. Drawing a clock of plurality, innocence, obsessions and a bold object, ENCAJE is influenced and structured with two concepts I have been exploring in my research: « Diary exercise » and « Radio exercise ». The « Diary exercise » references the daily writing practice of novelist Anaïs Nin, which she employed all through her life. I have always been inspired and somewhat guided by her writings. Nin was an essayist and memoirist born to Cuban parents in France, where she was also raised. She wrote journals since she was 11 years old and ending shortly before her death; as well as novels, critical studies, essays, short stories, and erotica. Her at times raw and blunt accounts of her everyday life as well as acute observations of her own behavior and that of her peers, had a great impact on the development of feminist thought. «Diary exercises»: is used to find and set movement material, exploring mood sensations in the present moment to search for a fitting visceral vocabulary. It collects from everyday material a diary of unpredictability, a set of emotions and transformations affected by the minute, the hour, the day. I am interested in a form of recapitulation, an archive that captures the untold, unpublished present of chaos and vulnerability. Similarly, I designed the « Radio exercise ». As the body snaps from one state to the next, combining spontaneously preset determined information, it provokes a shift of action in the brain similar to changing channels on the radio. This makes space for complexity and coincidence, allowing the collision of contrasting facts to unfold. « Diary exercise » is choreographed and « Radio exercise » is an improvised solid structure. I start « writing » my entry of the day, looking at it line by line, to then gloss some paragraphs, to remark, reject, re-design.
« My life is not possible to tell. I change every day, change my patterns, my concepts, my interpretations. I am a series of moods and sensations. I play a thousand roles. I weep when I find others play them for me. My real self is unknown. My work is merely an essence of this vast and deep adventure. » Anaïs Nin
ENCAJE Presentations 2017, Deltebre Dance Festival (ES); 14th Guangdong Dance Festival, China; Radialsystem, Berlin. Residencies: Residency ZAIC, Cologne; Residency Sasha Waltz & Guests GmbH & Radialsystem
About the artists:
The Berlin–based choreographer, improviser and teacher Judith Sánchez Ruíz (Havana, Cuba) began her dance studies at the National Schools of Art in Cuba. In 2010 she established JSR Company in New York City, relocating to Berlin in 2011. Sánchez Ruíz has created works for various companies and dance institutions and taught workshops and master classes throughout the world. She combines great physicality with a poetic sense of structure, using improvisation as a possibility to produce something new at any given moment in the development of structure and inside a complex choreography.
Sánchez Ruíz was a member of Sasha Waltz & Guests, (2011-2014); Trisha Brown Dance Company, (2006-2009); Mal Pelo Company, Spain (1997-1999); and DanzAbierta Company, Cuba, (1991-1996); and worked with independent choreographers Deborah Hay, (2012); DD Dorvillier, (2002); David Zambrano, (1997), among others.
Her new solo, Encaje, has had recent presentations at the Deltebre Dance Festival (ES); 14th Guangdong Dance Festival, China; Radialsystem, Berlin; and was created through residency ZAIC, Cologne; Residency Sasha Waltz & Guests GmbH & Radialsystem. Her work has been presented in numerous international festivals and has been commissioned by Danspace Project St. Marks Church NY; Work & Progress at Guggenheim Museum, NY, Whitney Museum NY, Storm King Art Center, NY.
She has been awarded grants by The Rockefeller Brothers Fund, The American Music Center’s Live Music for Dance program as well as the Baryshnikov Arts Center: Martha Duffy Resident Artist Spring, among others. She was awarded “Mujeres Destacadas (Outstanding Women) 2008” by the Spanish newspaper in New York, “El DIARIO” and selected by Dance Magazine as one of the 25 Dancers to Watch in 2010. In 2015, she restaged the masterpiece of Trisha Brown Set and Reset, at Paris Conservatoire.
For several years, she has emphasized a commitment to improvisation as a performance form involving live music, developing collaborative projects with innovative composers such as Henry Threadgill US; Steve Coleman US; and Dafnis Prieto, Cuba; as well as with the visual artists Jonathan Cramer, US; Daniel Arsham, US; Sun K. Kwak,,Kor; Kentaro Ishihara, Kor; Burt Barr, US ; Ian Trask, US; and the media artist and choreographer Jonah Bokaer, US. Most recently, in Berlin she has collaborated with Sound Maker, Jassem Hindi, Light Designer, Eduardo Abdala, and Pianist-Composer, Sebastian Schunke. Since 2012 she has been doing a choreographic collaboration with Edivaldo Ernesto, There is a name for it, which was presented at: Radialsystem, Berlin; Tanzfestival in Kulturzentrum Tempel, Karlsruhe, Germany; Festival Garage 29, Brussels; BOUGUE B, deSingel, Antwerp, Belgium; Gdansk Dance Festival, Gdansk, Poland; and NOISE, premiered at Tanz House Festival, Salzburg, and 16o Festival Internacional El Cruce 2016 and Porton de Sanchez Bs. Ar, Argentina. Fall 2016. JSR Company had presented in Berlin: Micro Revolution, A Site-specific dance in collaboration with ACUD MACHT NEU, Berlin, 2015; Pavillon Hanover, Hanover, Germany, 2016; and the Improvisational Project Mirror Equation, Am Flutgraben, Berlin, Germany, 2016. In 2017 -BOZAR, Brussels. Belgium; Summer Dance Residency: Berlin- NYU Tisch School of Arts, UferStudios, Berlin, Germany;, NOTAFE Festival, Viljandi, Estonia 2017, Lab Creation, Deltebre Festival, Spain, and Guangzhou Festival, China.
Laurel Jenkins is an independent choreographer, dancer, and teacher from Vermont. As a member of the Trisha Brown Dance Company from 2007-2012, she developed original roles in Brown’s final works. She continues to perform and restage pieces for the company. Jenkins has also danced with Sara Rudner, Liz Lerman, and Vicky Shick. Her work has been presented in Los Angeles by REDCAT, Automata, Highways, the Electric Lodge, the Getty Center, and the Fowler Museum, and in New York by Danspace Project and Dixon Place, and by Berlin’s Performing Presence Improvisation Festival, and Tokyo’s Sezane Art Gallery. She has been commissioned to choreograph for LA Contemporary Dance Company, CSULB, UNL, and the Wooden Floor. With the support of the Asian Cultural Council, Jenkins traveled to Phnom Penh, Cambodia in 2016 to work with Chey Chankethya, and Amrita Performing Arts. In addition, Jenkins recently performed the role of Iseme in Peter Sellars’ opera Oedipus Rex and Symphony of Psalms conducted by Esa-Pekka Salonen. This winter she will choreograph Berstein’s Mass with the LA Phil at Disney Hall. She received a BA from Sarah Lawrence College, an MFA from UCLA, and is certified in the Skinner Releasing Technique. Jenkins is an Assistant Professor of Dance at Middlebury College.
Beate Borrmann (Costume Designer) Beate Borrmann was born in Berlin in 1975. She studied Fashion, Costume and Stage Design in Berlin, Saint Petersburg and Krakow. Besides working as an assistant costume and stage designer she has produced her own designs for Schaubühne am Lehniner Platz Berlin, Staatsoper Unter den Linden Berlin and Kleisttheater Frankfurt/Oder. She has worked with Sasha Waltz since 2003 and created the costumes for Sasha Waltz’s »Gezeiten«, »Dialoge 06 – Radiale Systeme« and »Jagden und Formen (Zustand 2008)In collaboration with Hussein Chalayan and Sasha Waltz, Beate Borrmann designed the costumes for the choreographic opera »Passion« at Théâtre des Champs-Élysées, Paris. In 2012 she designed the costumes for Sasha Waltz’s and Mark Andre’s choreographic concert »gefaltet« as well as for the dance project »MusicTANZ – Carmen« within the education program of the Berliner Philharmoniker. In 2013 she created the costumes for Sasha Waltz’s »Dialoge Kolkata« in India as well as for »Dialoge Avignon« in collaboration with the artist GIOM. In 2014 Beate Borrmann designed the costumes for the Opera »Orfeo« of Sasha Waltz, to be seen in Berlin in Staatsoper im Schillertheater in 2015. In 2016 she worked with Ai Weiwei on his installation »Laundromat« at Jeffrey Deitch Gallery, New York City. In 2017 she worked for the first time with Staatsballett Berlin, for Nacho Duato’s production »Erde«. Beate Borrmann lives and works in Berlin and Mecklenburg.
These performances are made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs; and through Show Box L.A.’s /we live in space Residency Program. Encaje Production: JSR Company & Produced and supported by the14th Guangdong Dance Festival, (CH) .
Photo by Albert Vidal.