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 doll, 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?
ENCAJE is a work about hypocrisy, and is inspired by Anis Nin Diaries. It is a work concerned in how unbalanced we are in our actions and thoughts.
Limited seating – reserve HERE
$15 in advance/$20 at the door, as available
ENCAJE – The Process
ENCAJE plays with two concepts I have been exploring in my research for a while: «Diary exercise » and « Radio exercise ». The « Diary exercise » is a tool referencing the daily writing practice of novelist Anaïs Nin which she employed all through her life. I have always been inspired and somewhat guided by Anaïs Nin’s 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 the acute observations of her own behavior and that of her peers had a great impact on the development of feminist thought.
«Diary exercises»: is a “Pull-out” to set a short material, exploring mood sensations in the present moment and within it, searching for a fitting at times visceral vocabulary. It collects from the 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 instant. I reinvent the untold, unpublished present of chaos and vulnerability.
In that vein I designed the « Radio exercise » : I am letting radical changes of states, provoking a shift of action in the brain that combine spontaneously preset determined information, making space for complexity and coincidence, thereby empowering a challenge delivery. Very much like turning the dial on an old radio, the body snaps from one state to the next, allowing the collision of contrasting facts to unfold.
The two exercises both influence and structure my solo. « Diary exercise » is choreograph 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 music by ARCA; Costume Design by Beate Borrmann.
Director, choreographer, improviser, and teacher Judith Sánchez Ruíz began her dance studies at the age of 11 at the National School of Arts of La Habana, Cuba. After graduating from the Instituto Superior de Arte (ISA), she started working in various dance companies in Cuba as well as abroad. From 1999 to 2011, she lived in New York City where she established JSR Company, focusing on multidisciplinary and site-specific performances. Judith Sánchez Ruíz lives and works in Berlin.
Sánchez has been choreographing, performing as well as staging her own work since 1993, whilst being simultaneously employed as a company dancer with DanzAbierta Company, Cuba (1991-1996), Mal Pelo Company, Spain (1997-1999), Trisha Brown Dance Company, New York, US, (2006-2009) and Sasha Waltz & Guests, Berlin, Germany (2011- 2014). She worked with independent choreographers such as David Zambrano (1997), Jeremy Nelson and Luis Malvacias (2001-2002), DD Dorvillier (2002) and Deborah Hay (2012), amongst many others.
For several years Sánchez has strongly been committed to improvisation as a performance format involving live music. From 1996-2009, she collaborated with former long-time partner, 2011 MacArthurFellow composer and drummer Dafnis Prieto on an ongoing investigation into the dynamic interplay between dance and music. She collaborated on several improvisation projects with innovative composers and visual artists, amongst whom Steve Coleman (1997), Henry Threadgill (2002, 2008), Jonathan Cramer (2002), Stephen Talasnik (2010), Sun K. Kwak (2010), Kentaro Ishihara (2010-2011), Burt Barr (2008), Ian Trask (2011) as well as with photographers Anna Lee Campell (US), Anja Hitzenberger (Austria), Octavio Tapia (Chile) and Manuel Moncayo (Mexico).
In 1997, “Un Lugar”, one of her early pieces created together with Cuban Jazz band Columna B, was awarded a Stanford Jazz Workshop Residency, thanks to the support by the Doris Duke Charitable Foundation. She has subsequently been commissioned to create choreographic work by Aaron Davis Hall – via their Fund for New Work through the Jerome Foundation (2002) – as well as for Danspace Project St. Marks Church NY – within the commissioning initiative supported by NYSCA (2004-2005) and the commissioning initiative from the Andrew W. Mellon Foundation (2009-2010) – and for the Whitney Museum NY together with composer Dafnis Prieto (2007).
In 2008, Sánchez was awarded a grant through the « Meet the Composer’s Creative Connections Program » with the support from the Department of Cultural Afairs, New York State Council on the Arts, Virgil Thomson Foundation and the National Endowment for the Arts. In the same year, Sánchez invited performer and media artist Jonah Bokaer to co-create a duet that will later become “Replica”, a multidisciplinary collaboration with renowned American visual artist Daniel Arsham which toured extensively in the US and Europe (2009-2010). “Replica” was commissioned by the Cultural Programs of the National Academy of Sciences (CPNAS), Washington D.C with support from the Harman Center. The collaboration was made possible thanks to the support from the Mid-Atlantic Arts Foundation in partnership with the National Endowment for the Arts and the Trust for Mutual Understanding, the New Museum, U.S. Artists International, the Institut Valencià d’Art Modern, Valencia, Spain, and the Musée Carré d’Art in Nîmes, France.
In 2010 Sánchez established JSR Company in New York City to promote her own choreographic activities. As a company, she received commissioning support from the Storm King Art Center, NY (2010) as well as from the Guggenheim Museum’s Works & Process Performing Arts Series (2010). The company was awarded grants by the American Music Center’s Live Music for Dance Program (2010), Lower Manhattan Cultural Council (2010), TheRockefeller Brothers Fund and the Field (2010-11), Baryshnikov Arts Center in the frame of their Martha Dufy Resident Artist Spring Program (2011) and DMAC – Duo Multicultural Arts Center (2011).
In 2008 Sánchez was awarded “Mujeres Destacadas” (Outstanding Women) by “El Diario”, the Spanish newspaper in New York, and was selected by Dance Magazine as one of the 25 Dancers to Watch in 2010.
After her relocation to Berlin, a year later in 2012, Sánchez entered a choreographic collaboration with Berlin-based Mozambican performer Edivaldo Ernesto. “There is a name for it” (2012-2014) was presented at Radialsystem V, Berlin, Germany, at the Tanzfestival im Kulturzentrum Tempel, Karlsruhe, Germany, at OFFestival, Garage 29, Brussels, Belgium, at BOUGE B, deSingel, Antwerp, Belgium as well as at Gdańsk Dance Festival, Gdańsk, Poland. “Noise”, their most recent collaboration from 2016, was premiered at Tanz_House, Salzburg, Austria (2016) and toured to Argentina to be presented in the frame of the Festival EL CRUCE, Rosario, and at El Porton de Sanchez Theater, Buenos Aires (2016) as well as to Notafe Festival, Estonia (2017). Further dates in 2018, Hong Kong and Radialsystem, Berlin, are confirmed. Thanks to their recent exposure in China, Sánchez and Ernesto have been invited to create a choreography for Chinese contemporary dancers from different provinces of China, starting in November 2017, with a tour planned for China and Europe early 2018.
Meanwhile, JSR Company premiered “Micro Revolution” in 2015, a site-specific performance with 11 artists at ACUD art center Berlin, collaborating with sound designer Jassem Hindi, pianist Sebastian Schunke and opera singer Atalyá Tirosh. “Sebastian Schunke Meets Judith Sánchez Ruíz” was a collaboration with German Jazz pianist Sebastian Schunke and premiered at Pavillon Hannover, Hannover, Germany, in February 2016. The improvisational project “Mirror Equation” was performed at Flutgraben, Berlin, in July 2016.
“Encaje”, her most recent work drawing from the diaries of writer Anaïs Nin was presented as a work-in-progress at Festival Deltebre Dansa, Spain, July 17, 2017, and received a residency award at Choreographisches Centrum Heidelberg in Projekt der TANZAllianz, Heidelberg, Germany, the same year. It will premiere at the 14th Guangdong Dance Festival, Guangzhou, China in November 2017. A US tour is planned for early 2018.
Next to her activities as both choreographer and performer, Sánchez has been teaching and creating work for the Conservatoire National Supérieur de Musique et de Danse de Paris, France (2015, 2016, 2017), SNDO Amsterdam, Netherlands (2017), den Danske Scenekunstskole (the Danish National School of Theatre and Contemporary Dance) (2010, 2014), at Norges Dansehøyskole (Norwegian College of Dance), Oslo, Norway (2014), at the Modern Dance Theater School, MTD, Amsterdam, Netherlands (2015) and the University of Music and Dance Cologne, Germany (2014, 2015, 2016).
She has been invited to teach and give summer workshops at Dance Umbrella Festival, London, Coda Oslo International Dance Festival, Oslo, Tsekh Summer School, Moscow, Objectif Danse, Marseille, Summer Melt: Movement Research, New York, Summer Workshop, Guangzhou, China (2016-2017), NYU Summer workshops, Berlin, Festival Deltebre Dansa, Spain.
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.
Brian Wood is a multi-instrumentalist, composer, improviser, songwriter, and healer. He uses music and sound to help connect people into deep experiences with their bodies, emotions, and environments and assists people in bringing out their own authentic voice. He is a Radical Aliveness/ Core Energetics practitioner with a private practice and he currently accompanies modern and improvisation dance classes at Chapman University, Cal State Long Beach, The Wooden Floor. He has composed for dance, video, film, and multimedia performance, including collaborations with artists in Japan and all over Southern California. He composed for the Internet documentary series “Group,” and has composed and accompanied live for theater productions in Los Angeles. He holds a degree in music composition from UCSB’s college of creative studies. Examples of his songs and dance compositions can be found at brianwood.bandcamp.com
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.