"Atlantic Terminus": Jon Kinzel's residency at Invisible Dog

Jon Kinzel
(photo: Erica Freudenstein)

Out of the blustery night, I arrived at The Invisible Dog Art Center around 7:15 only to find the space behind its streetfront windows pitch-dark. Puzzled, I reached for the doorknob anyway. It yielded to me.

For some reason, I'd had the start time for Atlantic Terminus, Jon Kinzel's performance, as 7:30, not 7pm. Even so, as I peered around the ground-floor space, it looked as it nothing was shaking. A faint glow emanated from something on the floor, but where was the audience? Had I made the trip from Manhattan in vain?

As it turned out, people were standing in random spots around the space, but it was a while before Kinzel lit a small light revealing himself, guest artist Jodi Melnick and a smattering of watchers.  I felt much relieved to see them but dismayed that I'd clearly arrived late.

Some context:

Atlantic Terminus rests on the pretext of using Kinzel’s own belongings as a set. Evolving over two weeks, he will sustain an onsite multi-faceted studio practice in the gallery creating new work daily. He aims to disclose his particular history of making connections between visual art and performance since 1988. Invited guests, collaborations, and set and improvised performances will contribute to the process and over all installation. Integral to the show will be the task of cataloguing and exhibiting some of his 25+ years of works on paper: drawings that informed his shows at The Kitchen, Dance Theater Workshop, PS 122, Danspace Project, and Dixon Place among others. This will also serve to provide an unprecedented opportunity to share — a retrospective gesture — his ongoing interest in how kinesthetic and visceral sensibilities can be brought into engagement with visual thinking.

Kinzel is open-mined [sic] about ways in which a consensual relationship between audience and performer can allow both parties to engage in an atmosphere in which a very special “social” equilibrium is possible. He sees his work as collaboration between performer and audience, and as such there will always be unknown and uncontrollable elements, which provide a desirable tension to the experience on both sides.

That "open-mined" might be accurate. He's open to mining his journey and--with appropriate lighting--we could see evidence of an extensive engagement with paper and marking, including a table of supplies and tools in strict, neat arrangement. It was also nearly impossible, as an audience member, to wander about without coming into contact with drawings collaged on the floors or posted or stacked elsewhere. Much delicateness and vulnerability here in this open-mining.

Of course, for me, the performance was truncated. I only got to see both dancers vigorously swiping at taped-up drawings with wooden sticks as if whacking piñatas; Kinzel wriggling a long Mylar streamer in a kind of ribbon dance; Kinzel raising a charming paper cutout "sail" and moving a light around it; and Kinzel repairing to another part of the space to dance a bit of movement which, interestingly, made him look a bit like a charming paper cutout "sail." And, with perhaps no more than ten minutes of that, the performance was over.

Atlantic Terminus's remaining performances are tonight at 7pm and Saturday, February 13, at 7pm. Remember: 7pm, not 7:30! For information and tickets, click here.

The Invisible Dog Art Center
51 Bergen Street (between Smith and Court Streets), Brooklyn
(directions/map link)

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Jodi Melnick has her Next Wave moment

Jodi Melnick premieres Moment Marigold,
at BAM Next Wave 2014
(photos: Ian Douglas)

Dancers, left to right:
EmmaGrace Skove-Epes, Maggie Thom and Jodi Melnick

Her dancer's resumé includes work with stars of contemporary choreography--Twyla Tharp, Trisha Brown, John Jasperse, to name a few. She has won two Bessies and launched her own well-regarded dancemaking career. This week, Jodi Melnick made her BAM debut as a choreographer with Moment Marigold, created for BAM's 2014 Next Wave Festival.

Moment Marigold announces itself as a special kind of trio when, after simply walking out into BAM's humble Fishman Space, three women--Melnick with EmmaGrace Skove-Epes and Maggie Thom--variously attach themselves to one another. Hands touch, heads touch. Three graces intertwine in silence, clothing themselves in each other's physicality.

The dance progresses, for slightly less than an hour, as an unspooling of movement that really does look like what Melnick has called it--"a living thing" and "a continuous act of creating."

An early passage in Steven Reker's new composition for this piece reminds me of a journey by train, a regular rhythm of chugging and chiming, marking time spent that can be either tedious or pleasurable. How you hook into Moment Marigold might say something about your own fascination with small discoveries, your patience in observation and your own identification with these three explorers on their journey together. Do you feel their sticky-looking hands and sense your own? Their heavy arms? Their controlled stumbles? Their rubbery capabilities? Their bodies' twisting, rippling impulses opening out into the surrounding air? When Skove-Epes wing-like arms cup a buffer of space around Melnick's arms, can you see and hear what energy is doing in that gap between flesh?

In this context, some marigold moments work well because they are understated. Others, conversely, shout to pointless effect, feel out of place, break the spell by trying too hard. I'm thinking, specifically, of those arms extending out in a circle with splayed, vibrating hands. Melnick brings this out twice, and each time, the impulse looks forced and phony.

Melnick is a delicate bird--one with determination and durability. Skove-Epes and Thom, as powerful and gorgeous as raptors, translate Melnick's fluidity more directly and firmly and provide a necessary grounding force for this dance.

At one point, each of the dancers stride right up to the margin in front of the first row of audience seats on two sides of the space. It's their first acknowledgement--if it is, truly, an acknowledgement--of an outside world and outsiders. They become monumental, properly humbling to gaze upon. One should feel a little awe in the presence of a dancer. If you manage to get a ticket, go early and claim a front-row seat.

Original music and sound: Steven Reker (People Get Ready)
Lighting: Joe Levasseur
Costumes: Reid Bartelme and Harriet Jung

Moment Marigold's final performance is tomorrow evening at 7:30pm. Tickets are sold out, but check here for ticket standby information--and good luck!

BAM Fisher (Fishman Space)
321 Ashland Place, Brooklyn
(map/directions)

A warm(er) New York City welcome for APAP

This year, New York has welcomed the annual APAP (Association of Performing Arts Presenters) conference with the kind of "winter weather" that makes chasing down performances and showings all around town a whole lot easier than anticipated. I like that I can take post-dinner strolls across town to The Joyce for FOCUS DANCE--the series offered by Gotham Arts Exchange and the Joyce and curated, this year, by Jodee Nimerichter (director, American Dance Festival). I'll only get to the first two of FOCUS's four programs, but I'd like to shake the hand of the man or woman who can manage to get to everything invited to or, for that matter, worth seeing during APAP season.

Last night's show at the Joyce featured work by Jodi Melnick and Stephen Petronio. Melnick's Solo, Re(Deluxe), Version (2012), premiered last spring at New York Live Arts and set to the ecstatic, jagged chugging of Steven Reker's rock band, People Get Ready, finally came into focus and took off for me when the choreographer teamed up with another outstanding dancer, Hristoula Harakas. The two women proceeded to slip within and against the space with moves of silk and sophistication, switched on and attuned to one another's force and timing. Everything on that raw stage suddenly warmed up. It looked like love and intuition and mad stellar skill. Also, mad stellar are Gino Grenek and his fellow dancers from Stephen Petronio Company who offered excerpts from three sculpted pieces--Like Lazarus Did (LLD), a work in progress, The Architecture of Loss (2012) and Underland (2011). I'm always drawn to this ensemble's earth-angel quality: You can see how disciplined they are, but they show honor to the body and materiality--and humanity--by playing with gravity, never straining to escape it. Whatever they're dancing, they are sharing this specific time and place with us. Something so arresting and emotionally moving in this for me.

Tonight? Camille A. Brown & Dancers--to see where Brown's going with the provocative Mr. TOL E. RAncE--and Brian Brooks Moving Company (7:30 at The Joyce Theater). For information on the remaining FOCUS DANCE programs through January 13 at the Joyce--including work by Rosie Herrera Dance Theater, Doug Varone and Dancers, Eiko & Koma and John Jasperse--click here and here.

The Joyce Theater
Eighth Avenue at 19th Street, Manhattan
(directions)

Melnick: "the center of the stage"

Jodi Melnick is a dancer's dancer...and a critic's dancer, too. I didn't get to see her New York Live Arts show, but I enjoyed this review.

From the Everyday, the Extraordinary: Jodi Melnick at New York Live Arts
by Gia Kourlas, The New York Times, March 9, 2012

Rethorst: Make yourself at home

Here's the link to my Dance Magazine review of "Susan Rethorst: Retro(intro)spective," a series of events curated by Melinda Ring at Danspace Project, May 9-June 18.

Wishing upon stars: Rethorst's "Beau Regard"

An apparition out of the past--to be specific, an apparition out of 1989, a year I hold in high regard for my own reasons--Susan Rethorst's Beau Regard drifts in and out of one's conscious awareness. Sculpted partly by the choreographer's episodic whimsy, partly by Carol Mullins' confident, sublime lighting touch, partly by the dashes and splashes of music and a ground of silence, it comes and goes. Mainly its gestures, relationships and narratives inhabit subterranean, subcutaneous and distinctly subconscious space. A delicate and timeless thing, it fits the very notion of Retro(intro)spective, the Rethorst-focused series christened by PLATFORM 2011 curator Melinda Ring.

Its gentle charm softens you up, its clarity of execution makes you trust it even as the language escapes you or, at least, your conscious mind.  The main performances by Vicky Shick, Jodi Melnick, Iréne Hultman Monti, Rebecca Brooks and Noami Fall make of Danspace Project's home, St. Mark's Church sanctuary, a sanctuary indeed, a house of worship of goddesses ancient, classical, Romantic and everyday. I must say I found it a tad unnerving, almost too hushed in its most quiet moments, but I could sense my neighbors listening not just looking, as if forbidden to giggle in church or afraid to miss any exquisite, if esoteric, detail.

When you wish upon a star, you're graced by the women, a spectrum of generations, who perform in this piece. Men eventually appear, too, late in the course of things: Benjamin Ford Asriel, Neil Greenberg and Jon Kinzel, good sports who drew the audience's only chuckles last night and made me wonder what story Rethorst might be telling about the male of the species. Their costumes--tomato-red shirts and slacks with dark blue slacks awkwardly, comically belted and strapped to the front of their lower bodies--suggests an underlying, blunt vitality masked by superficial nobility and authority. The dawning of patriarchy is a goof. Not necessarily Rethorst's idea, though; just a thought from a watcher of symbols and colors.

Beau Regard continues tonight and tomorrow night at 8pm. For more information and ticketing--as well as additional information on the remaining Susan Rethorst: Retro(intro)spective events, click here. 

Danspace Project
Second Avenue at 10th Street, Manhattan
(directions)

Kinzel's responsible

Jon Kinzel's Responsible Ballet And What We Need is a Bench to Put Books On--curated by Sarah Michelson for The Kitchen--is a tasty bit for lovers of contemporary dance and its star performers. Vicky Shick, recovering from a fall, did not appear last night, but Kinzel, Hilary Clark, Jodi Melnick, Christopher Williams and promising newcomer Jeremy Pheiffer held everything together--not one of these folks duplicate any of the others or, for that matter, can anyone else in the dance-iverse duplicate them.

There aren't wings at the sides of The Kitchen's performance space, just one, smallish and dark partition--part of Kinzel's visual design--hanging in space. The piece begins when dancers scatter from behind this screen; when dancer return during the course of the piece, it amusingly hides everything but their legs. The bare, WYSIWYG space contains one other clever design element--a few long strips of masking tape. Yep. That's basically it. But really, it's fun when Williams rips the strips from the black wall and turns them three-dimensional. A little effort, a little act of down-to-earth alchemy. 

Responsible Ballet--free of overwhelming multimedia distractions--exposes its dancers and the arbitrary-seeming quirks of its movement. Kinzel favors spongey, stretchy, sometimes bizarrely distorted moves that shift and slither through positions that are unusually, continuously alive. This dancing writes across open space in an unknown or forgotten language--postmodern hieroglyphics.

In Kinzel's solos and duets, each dancer carries an elusive story of sorts. Melnick (with the big, intact valentine on her holey shirt) and especially Pheiffer carry the most distinct, resonant ones. Pheiffer's springy gyrations have a viscerally disturbing quality--like the first stirrings of seasickness--but I think something about him brings out the squirmy, sloshy-iness running through Responsible Ballet as a whole.

Clark, who has been more interestingly deployed, makes out less well than any of her colleagues here where it seems she serves merely as a blunt, undefined physical contrast. To be fair, that might not have been Kinzel's intention, but that is the effect. If Pheiffer writes with a fine Rapidograf, Clark wields a luxurious sable brush, but her hieroglyphics look all slash, splash and babble. And Kinzel has not added anything fresh to Williams' excellent track record.

Even so, these highly responsible and responsive dancers are well worth our venturing out to The Kitchen on some of this winter's coldest nights. But there's only one show left--tonight. Click here for ticketing.

Catching up with New York

Back from the powerful earth of Arizona, I managed to haul my jetlagged self to Hoofers' House at The Kitchen (curated by Rashida Bumbray and MC-ed by Jason Samuels Smith) on Friday night and to La MaMa Moves Festival's "Dancing Divas" evening on Saturday evening (curated by Nicky Paraiso and Mia Yoo and featuring works by Vicky Shick, Jodi Melnick, Pam Tanowitz, Barbara Mahler, Sally Silvers and Sara Rudner). Lovely, sensitive and interesting moments were in good supply at La MaMa Annex, but the mamadiva who moved us most had to be Rudner, one of my dance-crushes from way back, whose Positions--The All Star Variation was a true, openhearted gigglefest. I loved its extravagant size, its combination of the serene and the silly, its total lack of taking itself seriously. My kind of extravaganza with amusing performances from John Scott and Chris Yon among a bevy of downtown dance beauties, Rudner among them. Look for my Hoofers' House review on DanceMagazine.com sometime down the line.