This work was initially conceived for the former site of a Culte Antoiniste temple in Brussels, Belgium. The religion, founded in 1910, combines elements of Catholicism, the cycle of reincarnation, tolerance of all other faiths, healing through simple rites and rituals, and transcending the limits of intellect towards higher consciousness. Halo of Consciousness investigates imagined actions that could be unique to Antoinism, the history of movement and ailments that reside in the two dancers’ bodies, and the possibility to activate consciousness through meditative events.
Choreography by Wiegmann
Performed by Wiegmann and Rebecca Bruno
“Silence is the highest degree of wisdom”………Louis-Joseph Antoine
The musical accompaniment for each section is heard only by the dancers throughout the duration of the piece. The soundtrack is played both before and after the dance.
The general operation The shadow rises Invocation A damaged organ The ritual, immutable Intercession The trough of the wave Wakefulness
Wall text served as dance instructions for participating choreographers including: Rebecca Bruno, Margherita Elliot, Busy Gagnes, Jil Stein, Christine Suarez, Lisa Wahlander, Alexa Weir, Allison Wyper, and Flora Wiegmann. Each worked individually to create repeatable dances based on each text. The closing reception allowed for each interpretation to be showcased side-by-side, resulting performances containing obvious artistic difference and surprising similarities.
Flora Wiegmann and Alexa Weir collaborate on a three-part performance which spans the course of 3 months. The first act will be performed on Sunday, September 15th at 7:30 pm. The second act will occur in October after Wiegmann and Weir rearrange, investigate, diminish, and expand the material. The final act will follow suit in November. Through the viewing of all three parts, the process of making is revealed while the performers investigate the question of when a dance is ready to be performed.
The original version, Allay Alight, was performed at the Berkeley Art Museum in 2012. This solo performance occurred in the same physical space as James Lee Byars’ Perfect Square. The first line of paper laid out for his performance acted as the structure for Wiegmann’s work some 38 years later. As an alterable and transportable piece, iterations have also been performed at the center line of a soccer field and along the East River in NYC.
30 minutes, performed on June 22nd, 2013 at 356 Mission, Los Angeles
After a few seconds they’ve come to a tactical decision and they begin to do what they can, to buzz and try to lift themselves.
For FLY, Wiegmann and Ruperto have conceived of a work that uses six performers to reenact Flypaper by Robert Musil (1880-1942). Musil’s essay Flypaper painstakingly describes the struggle and incipient death of an unlucky housefly stuck upon a ribbon of flypaper. In a new adaptation, Flora Wiegmann has choreographed six dancers to move as fly appendages, reenacting the plight of Musil’s creature. Pauses in the dance score open to a lenticular LCD screen. Mounted on a plinth, it displays an insectile animation mirroring the choreography. In these various registers of scale that begin with Musil’s fly, corporeal movement is staged, captured and distributed in separate approximations of size, form and life force.
In order to make this work, six dancers’ movements were recorded in a motion capture studio and eventually assigned to a digital model of a house fly. The resulting video is a life-sized image of a fly, powered by human action.
An improvisation in Nina Waisman’s piece “Body Envelope”, in preparation for a performance at 7pm on November 8, 2012, at Villa Montalvo. Mariah Maloney and Natalie Metzger will also be creating performances in the “Body Envelope” interactive sculpture. More info here:
Sounds are triggered at each sensor, these sounds mash-up the 1920’s high-life at Villa Montalvo with life outside of this bubble. Moving towards or away from the sensors increases or decreases speed, pitch, volume. Thus the sound-scape is always different, composed in collaborations between the visitor and the piece.
The piece is used in performance, and in installations and public spaces where passers-by can explore and compose within it.
After researching previous Matrix Live Performances that have happened in this soon-to-be-gone gallery space, I decided to combine informal images from the preparation for a James Lee Byars performance and images from Orchesis, the dance club of sorts that was assiciated with the school years ago. Blending these two very different times and reasons for movement (physical education and utilitarian task), I created a 12-minute dance piece.
NADA Art Fair 2010, Miami Beach, December 2 – 5, 2010
Co-produced by OUTPOST NYC DCG (outpostnycdcg.com)
December 2 – 5, 2010. From 12 to 6 PM daily an ongoing performance by Flora Wiegmann. December 3 at 1 PM – a performance by Amy Granat and Flora Wiegmann. Ongoing conversations and updated screenings daily.
The Miami Set is a project by Ana Cardoso, Amy Granat and Flora Wiegmann for NADA Art Fair in Miami Beach, by invitation of Liutauras Psibilskis. The presentation includes a sculptural fabric installation by Ana Cardoso that will create environment for the project, an interview & conversation channel by Amy Granat and Ana Cardoso, an ongoing screening installation by Amy Granat as well as dance performances by Flora Wiegmann. The Miami Set is a constantly changing venue open to development through the interaction with the public. This ongoing performative presentation will be displayed at the Lobby of the Deauville Beach Resort hotel where NADA 2010 takes place and is co-produced by OUTPOST NYC DCG.
Images from a performance of Wandering (detail), a suite of 13 one-hour performances in the California Biennial, Orange County Museum of Art, 2010. Each performance served as an exploration of the 13 women depicted in the original Mary Wigman photographs on which Wandering (still) was based. Much like the film, where the bodies’ positions in space served as structure for the movement, each improvisation was an investigation of the physical attributes of each woman, inscribing a fictional narrative of her own individual movement habits in a tangible way.
Surfing Arts, Science, and Issues Conference (SASIC) held at Scripps Oceanographic Institute in La Jolla, California, in 2010. The conference was guest-organized by The Modeling Agency, a Los Angeles artist initiative founded by Nick Herman and Christopher James. This introduction presented the organizing themes of the conference—the aesthetics of surfing and modeling as an investigative strategy. A concurrent exhibition of relevant art was hung in the Center for Coastal Studies building on the Scripps Campus, amidst and among the trappings of Oceanographic research and its documentation. Further information may be found at: themodelingagency.net.
Thirteen two-hour dances were performed in partnership with Silke Otto-Knapp’s show Standing anywhere in the space in a relaxed position. Each individual performance is signified by a differing color accent on the costume.Instead of using video, each session was documented with a still camera that took photographs at 30-second intervals. When viewed in a series, the viewer fills in the gaps between one moment of the dance and the next; the actual movement and passage of time are not experienced but are understood.
The video features the movements by three individuals (Jacinto Astiazaran, Fritz Haeg and Flora Wiegmann) taking place in three distinct zones of the LACMA campus: La Brea Park, LACMA plaza, BCAMA.
The video was produced on the occasion of the Machine Project Field Guide to LACMA on Satuday, November 15th, 2008
Video by Jacinto Astiazaran
LACE is proud to present a re-invention of Allan Kaprow’s seminal Happening –18 Happenings in 6 Parts – originally presented in 1959 at the Reuben Gallery in New York. The original work featured a cast of performers including Allan Kaprow, with Rosalyn Montague, Shirley Prendergast, Lucas Samaras, Janet Weinberger, Robert Whitman, Sam Francis, Red Grooms, Dick Higgins, George Segal, and others.
To re-invent this work in 2008, LACE invited artist Steve Roden to assemble a creative team, which includes Rae Shao-Lan Blum, Michael Ned Holte and Stephanie Smith. The team is joined by performers Simone Forti, Steve Irvin, Flora Wiegmann with Elonda Billera and Skylar Haskard creating key props and installations. Special guests will join the performance each night including Roy Dowell, Renee Petropoulos, Justin Lowman, Elizabeth Leister, Fran Siegel, Brad Eberhard, Mark Dutcher, Doug Harvey, Steve DeGroodt, David McDonald, and Martin Kersels.
This new vision of the work is grounded in the team’s intensive research and dialogue, based on Kaprow’s original notes and writings. “I’d like to be sure that Kaprow’s intentions and ideas surrounding the work are not lost in attempts to replicate a historical moment.” (Steve Roden)
Allan Kaprow’s 18 Happenings in 6 Parts was timed to coincide with the exhibition Allan Kaprow—Art as Life, on view at the Geffen Contemporary at MOCA through June 30, 2008, and organized by the Haus der Kunst Munich, and the Van Abbemuseum, Eindhoven. The curatorial concept for this exhibition was developed in close collaboration with the recently deceased artist, and curators Stephanie Rosenthal (Munich) and Eva Meyer-Hermann (Eindhoven).
One aspect of this large-scale retrospective is the re-invention of many of Kaprow’s Happenings, which will take place at 29 local institutions throughout Southern California. Thanks to a generous grant from the Getty Foundation, MOCA has invited Los Angeles-area art schools, academic institutions, arts organizations, museums, and artist-run spaces to reinvent a diverse selection of Kaprow’s Happenings.
Happenings are coordinated by The Museum of Contemporary Art, Los Angeles, and made possible by generous support from the Getty Foundation. Allan Kaprow—Art as Life is organized by the Haus der Kunst, Munich, and the Van Abbemuseum, Eindhoven. Concept of the exhibition by Stephanie Rosenthal and Eva Meyer-Hermann. For a complete listing of all Happenings, visit MOCA
Special thanks to the Allan Kaprow Estate, Hauser & Wirth Zürich London, Research Library, The Getty Research Institute, Los Angeles, California.
This piece was concetualized to lay bare the collaborative process—one that is part of dance production with lighting, costume and sound designers. My goal, though, was to react to each set of elements, allowing the dance to be altered by these factors, instead of the elements visually enhancing the work.
A text by Vito Acconci supported the process of this work. In “Vito Acconci on Activity”, he talks about adaptive lines of action:
“A performance can consist of performing (adhering to the terms of) a particular element (a rule, a space, a previous performance, another person)…..the performance can be set up as a learning process. When the performer makes a move, the consequences of his behavior can control his next move. The use of feedback can steady and bring into unison one stage of the performance, after which can come change as new material is imported and adapted to. The performer can work as a producer; the performance pattern can be linear—a series of additions of material. And energy. Or he can work as a consumer.”
–Vito Acconci, 1971
The wall text that accompanies this film sums up the process:
Step 1: Choreography by Wiegmann
Step 2: Space chosen by Walead Beshty
Step 3: Choreography adapted to space by Wiegmann
Step 4: Sound score produced by Alix Lambert and Joshua Myers
Step 5: Performance adapted to sound by Wiegmann
Step 6: Costume conceived of and produced by Andrea Zittel
Step 7: Performance adapted for costume
Step 8: Performance filmed and edited by Margo Victor
This process of addition and adaptation, resulted in a final edition that found repetition where there was none, experimented with film as a medium, and modifies the aspects of time and speed.
Black Box/White Cube is a dual-screen projection of two 16mm films of a dancing body, performing a single movement phrase, mirrored within two specific spaces, the black box of the theater and the white cube of the gallery. These two spaces, sites of performance for at least the last 40 years, locate nuanced sets of rules that inscribe specific conventions upon all they contain. Black Box/White Cube, through a filmed examination of choreographed movement within those walls, re-presents those rules in an effort to re-inscribe those conventions; laying bare the subjective and thus socio-political limits of any action realized within the boundaries of any institution.
As the performer marks the boundaries of the space, initially through a pacing of the perimeter, she calls attention to the edges of each space. The theatrical stage suspends belief in these boundaries, witnessed in brief disappearing acts into the wings. The white walls of the gallery become very real spatial limitations, on which the body can lean, slide against or crumple into. As it progresses, the movement suggests spatial reference points (corners, walls, ceiling) whose variable distances from a perceived architectural center are echoed by shoulders, hips, thighbones, and their relationship with the torso.
The movement, though tempered by various aspects of each space, remains contained by both, punctuated only by slippage inherent in the film medium itself (light leak, over/under exposure, and non-synchronous sound) that pronounce the use of this archaic form of capturing an image of an archaic form of movement. Both are reflective of a period of art-making and dance that forty years ago sought an expanded field, an exploded boundary, and now are conventions of their own.
Flora Wiegmann and Felicia Ballos formed a collaboration called ChampionDance in 2003. Under the roof of Champion Fine Art, they embarked on a series of dance performances called The De-installation Series. This project consisted of nine monthly shows, each performed in the gallery space just after an exhibition was de-installed. The development and structure of each performance evolved directly out of a shared space with each exhibition. After a few weeks of rehearsals, they produced a single-night event that was the culmination of their relationship with the given show; the spatial placement of the dancers and the audience members reflected the recent group of artworks, just as traces of those artworks appeared within the movement of the dance. Each performance was accompanied by live music, with the exception of “For Your Pocket” for which the sound score was created by a collection of nine transistor radios that were gradually tuned to a common station.
Although the habit was to remove everything from the gallery immediately before the performance, in a few instances, the decision was made to keep certain works in the space and incorporate them into the piece, providing imagery, lighting, or sound. These important additions included Sylvie Fleury’s neon sign that read “Pleasures”, Alex Kwartler’s wall painting of fireworks (recently sanded and awaiting its disappearance under a fresh coat of white paint), Amy Granat’s scratch films, and a computer-generated oceanic projection created by Dan Torop.
Ballos / Wiegmann has continued to make works for specifically for spaces like Le102 in Grenoble, France, beach in Miami for Frisbee (ArtBasel), and The Kitchen, Rental Gallery, Elizabeth Dee Gallery, and Nicole Klagsbrun in New York City.