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The Window at 125 presents
The Introducing Series
SEASON 2: ROOFTOP/GROUNDFLOOR
RoofTop Dance Introduces 13 performance-based artists in 13 days
March 3-15th 2013
As makers and performers, artists occupy more space than just the stage with… The Window at 125 presents
The Introducing Series
SEASON 2: ROOFTOP/GROUNDFLOOR
RoofTop Dance Introduces 13 performance-based artists in 13 days
March 3-15th 2013
As makers and performers, artists occupy more space than just the stage with their presence. They constantly inhabit public, administrative, economic, cultural, internal, and political spaces; in this way the borders that contain what it means to “make art” are often unable to resist the blur of the artist working within them.
These 11 artists, who represent a broad range of young makers and experienced performers, will exhibit their presence in this space for a full 12-hour day; how they accomplish this, what bodies and non-bodies they utilize to do so, and the aesthetics of that presence are entirely up to them.
Sunday 3/3 Lindsey Dietz Marchant
Monday 3/4 Amanda Szeglowski
Tuesday 3/5 Deborah Lohse
Wednesday 3/6 Ilona Bito
Thursday 3/7 Sarah McSherry
Friday 3/8 Jillian Sweeney
Saturday 3/9 Mariana Valencia
Sunday 3/10 Tony Carlson
Monday 3/11 BoomBat Gesture
Tuesday 3/12 TBD*
Wednesday 3/13 Annette Herwander
Thursday 3/14 Walter Dundervill
Friday 3/15 Kirsten Schnittker
Each artist will occupy the space from 8am-8pm every day.
ARTIST BIOS:
Lindseay Dietz Merchant and Amanda Szeglowski
We will use the window for hour long “shows” mixed with breaks. During the shows we will perform sections of a piece we have just reworked called “alpha pups”—we will be taking elements of this piece and reworking them into an hour-long durational performance that can be repeated throughout the day. In “alpha pups” we highlight the desperation and bizarre communication used in the final rounds of 1980’s game shows, namely the Winner’s Circle from The $25,000 Pyramid and the Fast Money found of Family Feud. This thematic platform is used as a pretense to render personal accounts of awkward communication and reactive experience. The piece features several scripts, both recorded and spoken. There is also a performer who makes fluffernuttrees the entire piece, so we will riff off of this idea and make sandwiches for long periods of time. During our set breaks we will give away free fluffernutters to people on the street.
Deborah Lohse
One hour experiments—at the top of each hour, Lohse will take requests via the street/twitter/facebook and explore that idea for an hour with a collaborating visiting artist. Visiting artists include lighting designers, DJs, dancers, visual artists, fashion designers, set designers, directors, and playwrights TBD.
Sarah McSherry – “HOMO SAPIENS/Human Exhibit”
In the window: a small rack of clothing. A water bottle, a standing mirror, a notebook and pen. A sleeping bag and pillow, animal inside them. At the top of the window, large letters read HOME SAPIENS. At the bottom, a plaque the length of the window: “HOMO SAPIENS, Common name: Human Being.” It is entirely covered with paragraphs describing the species, its evolutionary history and current existence, with a couple of graphics for good measure. There is at least one paragraph about the specimen with the exhibit—her name, age, shallow survey of personality and traits. A board with a series of buttons, each labeled, is against the back wall. The labels read “coffee,” “computer,” “snack,” “socialize,” “dance,” “arts and crafts,” “bathroom break,” etc.
Between now and the performance I will develop a series of instructions for myself which will structure the day and prompt specific activities. Much of the day will read like a zoo exhibit, and will be periodically punctuated by more superficially performative aesthetics of busier actions. I have not yet decided whether or not to create possibility for participation, or whether/how to include other performers.
Jillian Sweeney
I plan to build a visual backdrop (bit by bit) for the shop-window space and then deconstruct, code, decode, patch, and ultimately “incomplete” this picture I’ve made. The performance will etch and erase a slowly-turning story/choreography. The conversation with the passerby evolves over time, as a something-ness comes to life and returns back to nothing. The performance will be ongoing (and the absence of the performer is a part of that too) during the 12-hour day. By 8pm, the performer leaves the room as she found it.
Mariana Valencia
I propose to install a monochromatic space and perform in it. I’m currently reading In the Break by Fred Moten. So i plan on spending some of my time reading and holding a rehearsal with myself in the window. Visuals and brain power will drive this work.
Tony Carlson
Our time slot will be divided into 12 individual hours with a change in activity occurring after each interval. Every third hour, the same hour long movement sequence will occur as a sort of “reset” before the two of us more on to other objectives in our itinerary. The 9 remaining hours will be each assigned an “objective.” Though not all of these have been solidified, we have brainstormed a few example objectives to give a sense of what an hour may include: the live dubbing of a hour’s length film, repetitive layering and shedding of clothing, an hour-long visible nap, slow motion lunch, etc. In addition to these distinct objectives, there will also be various rules put into place that govern the entire 12-hour period and must be followed no matter what the objective is. In preparation for the performance, we will build a precise itinerary and rulebook, most likely with the intention to post it inside the space with us.
BoomBat Gesture
We will use these 12 hours as a laboratory to continue our explorations in impulse manipulation, process performance, and the infinite zoom. Selecting excerpts of existing material, we will by turns dig in, tear apart, and spring board ourselves into whole new bodies of work that simultaneously distinguish themselves and resemble each other. For source material we will use our ongoing performance piece, Screen Eyed Baby Ice.
Annette Herwander – “Interior”
Interior is a continuous solo to be performed by a rotating cast of 3 dancers over the course of 12 hours. Creating a piece that demonstrates the warmth and softness of inside while brining in an element from outside – wind. Dancers will improve movement based on the idea of Interiors and Exteriors and the textures. 2-3 fans will be placed in the space to create a wind tunnel with feathers and Styrofoam pieces. Costumes by Annette are made up of various light materials to showcase the movement. Sound score is to be determined.
Walter Dundervill
I would like to occupy the window for the complete 12 hours. I plan to use 9 or more performers. Come of them will rotate throughout the day. Some may stay for the duration. My work utilizes costumes, props, and sets that I design. I plan to incorporate costumes and visual objects from various performances. The performers will wear different costumes—often changing them in the view of the observers, sometimes appearing and disappearing from view. The palatte and materials will change over the course of the day. The performers will be placed in a tableaux, lying, sitting, lounging, standing, moving, slowly, piling atop one another. Throughout the day, the number of performers occupying the window will change – sometimes one person, sometimes 9 or more. If I decide I need to schedule a break, I will leave the window styled with décor. I might be interested in covering the walls in aluminum foil.
Kirsten Schnittker – “Girl/plot”
Drawing inspiration form Wayne Theibaud’s Two Kneeling Figures—a vibrantly colored, but emotionally and narratively stark portrait of two women in bathing suits—and impressions of the ambitious, busy, straddling all things, encompassing all things, young “thriving” woman, I would like to set in motion processes of discovery and dead ends that 2-3 dancers will imagine in one window, in one day. They will grapple with cultural constraints of presentation. Costume—what they wear and how they wear what they wear; environment—what and how they create and interact with space/objects; presence—awareness of the inner and outer presence by themselves, with another person, and to the outside world.
***
The Introducing Series is an initiative that creates occasions for emerging artists to be formally introduced by an advocate of their work and champion of their future career. Artists will come from a spectrum of disciplines, including visual artists to performance artists, writers to musicians, film-makers. The series’ constant is the principle of an introduced artist, the variable element is the appropriately diverse composition of each event.
Founded in 2010, RoofTop Dance is dedicated to fostering an adventurous artistic community by providing performance makers, long-time art lovers, and first-time audiences alike with opportunities to share performance. Valuing engagement at every point along the creative process, RTD has produced two seasons of rooftop performances in Brooklyn, and will present their third rooftop season this summer.
RoofTop Dance is currently run by its collective leadership of five producing artists: Benn Rasmussen, Anna Adams Stark, Edward Rice, Isabella Hreljanovic, and Sarah A.O. Rosner. For more information about RoofTop Dance, please visit www.rooftopdance.com
Check out facebook.com/rogersmithhotel for updates
The Introducing Series
SEASON 2: ROOFTOP/GROUNDFLOOR
RoofTop Dance Introduces 13 performance-based artists in 13 days
March 3-15th 2013
As makers and performers, artists occupy more space than just the stage with… The Window at 125 presents
The Introducing Series
SEASON 2: ROOFTOP/GROUNDFLOOR
RoofTop Dance Introduces 13 performance-based artists in 13 days
March 3-15th 2013
As makers and performers, artists occupy more space than just the stage with their presence. They constantly inhabit public, administrative, economic, cultural, internal, and political spaces; in this way the borders that contain what it means to “make art” are often unable to resist the blur of the artist working within them.
These 11 artists, who represent a broad range of young makers and experienced performers, will exhibit their presence in this space for a full 12-hour day; how they accomplish this, what bodies and non-bodies they utilize to do so, and the aesthetics of that presence are entirely up to them.
Sunday 3/3 Lindsey Dietz Marchant
Monday 3/4 Amanda Szeglowski
Tuesday 3/5 Deborah Lohse
Wednesday 3/6 Ilona Bito
Thursday 3/7 Sarah McSherry
Friday 3/8 Jillian Sweeney
Saturday 3/9 Mariana Valencia
Sunday 3/10 Tony Carlson
Monday 3/11 BoomBat Gesture
Tuesday 3/12 TBD*
Wednesday 3/13 Annette Herwander
Thursday 3/14 Walter Dundervill
Friday 3/15 Kirsten Schnittker
Each artist will occupy the space from 8am-8pm every day.
ARTIST BIOS:
Lindseay Dietz Merchant and Amanda Szeglowski
We will use the window for hour long “shows” mixed with breaks. During the shows we will perform sections of a piece we have just reworked called “alpha pups”—we will be taking elements of this piece and reworking them into an hour-long durational performance that can be repeated throughout the day. In “alpha pups” we highlight the desperation and bizarre communication used in the final rounds of 1980’s game shows, namely the Winner’s Circle from The $25,000 Pyramid and the Fast Money found of Family Feud. This thematic platform is used as a pretense to render personal accounts of awkward communication and reactive experience. The piece features several scripts, both recorded and spoken. There is also a performer who makes fluffernuttrees the entire piece, so we will riff off of this idea and make sandwiches for long periods of time. During our set breaks we will give away free fluffernutters to people on the street.
Deborah Lohse
One hour experiments—at the top of each hour, Lohse will take requests via the street/twitter/facebook and explore that idea for an hour with a collaborating visiting artist. Visiting artists include lighting designers, DJs, dancers, visual artists, fashion designers, set designers, directors, and playwrights TBD.
Sarah McSherry – “HOMO SAPIENS/Human Exhibit”
In the window: a small rack of clothing. A water bottle, a standing mirror, a notebook and pen. A sleeping bag and pillow, animal inside them. At the top of the window, large letters read HOME SAPIENS. At the bottom, a plaque the length of the window: “HOMO SAPIENS, Common name: Human Being.” It is entirely covered with paragraphs describing the species, its evolutionary history and current existence, with a couple of graphics for good measure. There is at least one paragraph about the specimen with the exhibit—her name, age, shallow survey of personality and traits. A board with a series of buttons, each labeled, is against the back wall. The labels read “coffee,” “computer,” “snack,” “socialize,” “dance,” “arts and crafts,” “bathroom break,” etc.
Between now and the performance I will develop a series of instructions for myself which will structure the day and prompt specific activities. Much of the day will read like a zoo exhibit, and will be periodically punctuated by more superficially performative aesthetics of busier actions. I have not yet decided whether or not to create possibility for participation, or whether/how to include other performers.
Jillian Sweeney
I plan to build a visual backdrop (bit by bit) for the shop-window space and then deconstruct, code, decode, patch, and ultimately “incomplete” this picture I’ve made. The performance will etch and erase a slowly-turning story/choreography. The conversation with the passerby evolves over time, as a something-ness comes to life and returns back to nothing. The performance will be ongoing (and the absence of the performer is a part of that too) during the 12-hour day. By 8pm, the performer leaves the room as she found it.
Mariana Valencia
I propose to install a monochromatic space and perform in it. I’m currently reading In the Break by Fred Moten. So i plan on spending some of my time reading and holding a rehearsal with myself in the window. Visuals and brain power will drive this work.
Tony Carlson
Our time slot will be divided into 12 individual hours with a change in activity occurring after each interval. Every third hour, the same hour long movement sequence will occur as a sort of “reset” before the two of us more on to other objectives in our itinerary. The 9 remaining hours will be each assigned an “objective.” Though not all of these have been solidified, we have brainstormed a few example objectives to give a sense of what an hour may include: the live dubbing of a hour’s length film, repetitive layering and shedding of clothing, an hour-long visible nap, slow motion lunch, etc. In addition to these distinct objectives, there will also be various rules put into place that govern the entire 12-hour period and must be followed no matter what the objective is. In preparation for the performance, we will build a precise itinerary and rulebook, most likely with the intention to post it inside the space with us.
BoomBat Gesture
We will use these 12 hours as a laboratory to continue our explorations in impulse manipulation, process performance, and the infinite zoom. Selecting excerpts of existing material, we will by turns dig in, tear apart, and spring board ourselves into whole new bodies of work that simultaneously distinguish themselves and resemble each other. For source material we will use our ongoing performance piece, Screen Eyed Baby Ice.
Annette Herwander – “Interior”
Interior is a continuous solo to be performed by a rotating cast of 3 dancers over the course of 12 hours. Creating a piece that demonstrates the warmth and softness of inside while brining in an element from outside – wind. Dancers will improve movement based on the idea of Interiors and Exteriors and the textures. 2-3 fans will be placed in the space to create a wind tunnel with feathers and Styrofoam pieces. Costumes by Annette are made up of various light materials to showcase the movement. Sound score is to be determined.
Walter Dundervill
I would like to occupy the window for the complete 12 hours. I plan to use 9 or more performers. Come of them will rotate throughout the day. Some may stay for the duration. My work utilizes costumes, props, and sets that I design. I plan to incorporate costumes and visual objects from various performances. The performers will wear different costumes—often changing them in the view of the observers, sometimes appearing and disappearing from view. The palatte and materials will change over the course of the day. The performers will be placed in a tableaux, lying, sitting, lounging, standing, moving, slowly, piling atop one another. Throughout the day, the number of performers occupying the window will change – sometimes one person, sometimes 9 or more. If I decide I need to schedule a break, I will leave the window styled with décor. I might be interested in covering the walls in aluminum foil.
Kirsten Schnittker – “Girl/plot”
Drawing inspiration form Wayne Theibaud’s Two Kneeling Figures—a vibrantly colored, but emotionally and narratively stark portrait of two women in bathing suits—and impressions of the ambitious, busy, straddling all things, encompassing all things, young “thriving” woman, I would like to set in motion processes of discovery and dead ends that 2-3 dancers will imagine in one window, in one day. They will grapple with cultural constraints of presentation. Costume—what they wear and how they wear what they wear; environment—what and how they create and interact with space/objects; presence—awareness of the inner and outer presence by themselves, with another person, and to the outside world.
***
The Introducing Series is an initiative that creates occasions for emerging artists to be formally introduced by an advocate of their work and champion of their future career. Artists will come from a spectrum of disciplines, including visual artists to performance artists, writers to musicians, film-makers. The series’ constant is the principle of an introduced artist, the variable element is the appropriately diverse composition of each event.
Founded in 2010, RoofTop Dance is dedicated to fostering an adventurous artistic community by providing performance makers, long-time art lovers, and first-time audiences alike with opportunities to share performance. Valuing engagement at every point along the creative process, RTD has produced two seasons of rooftop performances in Brooklyn, and will present their third rooftop season this summer.
RoofTop Dance is currently run by its collective leadership of five producing artists: Benn Rasmussen, Anna Adams Stark, Edward Rice, Isabella Hreljanovic, and Sarah A.O. Rosner. For more information about RoofTop Dance, please visit www.rooftopdance.com
Check out facebook.com/rogersmithhotel for updates
Upcoming Shows
All times shown are PDT
- The Window at 125 presents The Introducing Series SEASON 2: ROOFTOP/GROUNDFLOOR RoofTop Dance Introduces 13 performance-based artists in 13 days Wednesday at 1:00pm
- The Window at 125 presents The Introducing Series SEASON 2: ROOFTOP/GROUNDFLOOR RoofTop Dance Introduces 13 performance-based artists in 13 days Thursday at 5:00am Remind Me Attending Unattend
- The Window at 125 presents The Introducing Series SEASON 2: ROOFTOP/GROUNDFLOOR RoofTop Dance Introduces 13 performance-based artists in 13 days Thursday at 9:00am Remind Me Attending Unattend
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