by Contemporary Cruising |

Mårten Spångberg, the bad boy of contemporary dance

The Dane likes his audience to leave their phones on and has a troupe that’s the choreographic equivalent of Occupy. He explains why he’s aiming for ‘something neo-liberalism can’t cope with You’ve seen contemporary dance, even if you don’t think you have: it’s actually been infiltrating the pop world for years. Some recent examples:Beyoncé filched great chunks of Belgian choreographer Anne Teresa De Keersmaeker’s

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by Contemporary Cruising |

Ellen Söderhult on AGON by Florentina Holzinger

Impulstanz offered a fabulous world premiere by Florentina Holzinger et al, an excellent piece that develops unpredictably and makes up for an interesting take on contemporary dance 2014. It is AGON, in farfetched but genius interpretations, an urgent exhaustion of the theme of struggle for recovery and the empowering and healing potential of intense physicality. Throughout the performance radically different ways of addressing this are proposed as drastically different activities, expressions and modes of performing are superimposed and transposed in and out of each other.

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by Contemporary Cruising |

Performance art goes legit
Experiential works are showing up at fairs more and more, and a small selection of institutions and niche collectors are snapping them up.
By Gareth Harris.

Performance art is no longer a fringe activity in the art world: the genre is gaining momentum at art fairs worldwide with more and more galleries showing works that would once have been considered unsellable in the marketplace. But this field is still very much a specialist, niche area with only a small selection of major museums and a handful of collectors prepared to invest both financially and intellectually in “live” works that must usually adhere to complex sets of instructions provided by the artists. Most collectors subsequently turn to tangible items: documentation of performance works in the form of films and photographs.

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by Contemporary Cruising |

Christian Margol introducing Michael Clark

The incredible dancers of the Michael Clark Company from London present revolutionary contemporary dance in which the worlds of classical ballet, modern dance and explosive rock music meet and coexist in perfect harmony in their work “come, been and gone”.

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by Contemporary Cruising |

Sarah Lehrer-Graiwer on Ryan Trecartin

There is nothing else in today’s art world even remotely like Ryan Trecartin’s videos. Copying and pasting a crazy collage of dialects and accents, the protagonists—so many young, sexually ambiguous, wig-wearing and face-painted chatterboxes—deliver compu-pop poetry about their chronic over-existence. It’s a sci-fi theater of the absurd for our manically paced YouTube era, a singular vision created by Trecartin in collaboration with his creative partner, Lizzie Fitch.

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by Contemporary Cruising |

By Coco Fusco

The State of Detention: Performance, Politics, and the Cuban Public

The detention of Cuban artist Tania Bruguera and the Cuban government’s actions to prevent her performance from taking place in Havana’s Revolutionary Plaza have made international news headlines in the past week. Public outrage about the censorship of the performance and concerns about Bruguera’s whereabouts have circulated in social media outside Cuba, but little in depth consideration of the context and implications of the performance has been available in English.

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by Contemporary Cruising |

By Claire Bishop

THIS SEEMS TO BE THE YEAR that dance went discursive. The possibilities and limitations of this shift marked the two most influential performance experiences I had in 2014. The first was Ralph Lemon’s Value Talks at the Museum of Modern Art, New York, a yearlong series of discussions and performances, and the second was Boris Charmatz’s expo zéro in its two-day iteration at Berliner Festspiele in July. And, sigh, full disclosure: I was partially involved in both projects, as one of a lineup of invited participants.

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