El pueblo de los Olvidados (The Village of the Forgotten) is a dance-theater performance in the genre of science-fiction, prompted by Ramos’s research about Puerto Rico in the wake of Hurricane Maria. The narrative concerns the protagonist, Tony Taco?n, returning to his native planet to discover the metamorphosis of the land and its gender, attacked and altered by a different breed. As if under a moribund spell, the entire country appears devastated after years of suffering under the colonization by the alien species, GREENGOO.
In Diorama, Oslo-based choreographer Ingri Fiksdal stages particular views of natural and urban landscapes in different cities and contexts. The word “diorama” often refers to a three-dimensional model of a landscape, such as displayed in museums of natural history. Another use of the word is for the French diorama theatre invented by Louis Daguerre in 1822, for which the audience watched large landscape paintings transform through skillfully manipulated light, sound effects, and live performers.
“dream[e]scapes is my first look inside building a world that is particularly made for me and bodies that look like mine. it is a practice in duration and reimagining the gaze we place on ourselves and those around us. i come to think of it as a 24/7 event that is always happening in spaces that we claim to reside in....spaces we think we already know. what is it like to step into a pool and realize it is an ocean?”
Disease Thrower is the final work of a performance trilogy based on Gaudalupe Maravilla’s autobiography. The first part, titled The OG of Undocumented Children (performed at the Whitney Museum in 2018) told the story of how Maravilla became an undocumented and unaccompanied child immigrant. The second part, titled Walk on Water (performed at the Queens Museum in 2019), focuses on Maravilla’s past as an undocumented immigrant, the deportations his family endured, and methods for healing. The final performance of the trilogy, Disease Thrower, will center on how the trauma of Maravilla’s border crossing manifested into cancer and the ways he overcame the disease.
Traveling through the fractured American landscape, looming vibrations push the ground up and the cosmos down as our community-turned-cabal explores terror, tectonic shifts, psychedelic self-harm and toxic monuments. Through the lens of a thriller, our cell flows through domestic borders, mingles with the extraterrestrial and unpacks landlocked limitations through discursive research, experiments in moving image, experiential installation, and absurd rigorous ensemble development.
This work explores my familial ethnography, through the use of implicit and explicit memories. As a burgeoning comedian and social media non-influencer, I examine the ways comedy and performance are used to heal, hide, and address systemic trauma.
Aaron Landsman and Nicola Gunn are in residency together, working as each other’s outside eyes, on their own separate projects. Nicola is working on a piece called The Interpreters, about language and the act of interpretation, and about the the gap that develops in the process of translation. Aaron is working on two companion performances called Night Keeper and Silent Treatment, one staged in near-darkness and the other in near-silence. Night Keeper is about a person looking out a window onto the sleeping city, tasked with shepherding the night to the next day. Silent Treatment is about how we learn what is expected of us through silent communication, expectation and gesture.
In Distances Smaller Than This Are Not Confirmed, co-creators David Neumann and Marcella Murray create a staged conversation of intimate scale on the set of a TV talk show where they explore and unpack their several-years-long ongoing dialogue about race alongside astronomical questions of scale and time.