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presents "It follows therefore that there must exist a Being of which the property is to nihilate Nothingness, to support it in its being, to sustain it perpetually in its very existence, a being by which nothingness comes to things. . . The being by which Nothingness comes to the world must be its own Nothingness. . . . It remains to learn in what delicate, exquisite region of Being we shall encounter that Being which is its own Nothingness.” Corps: “Its Own Nothingness” Postlude: “Allness Emerge” Butoh-inspired performance/experience directed by Tbird Luv Each of these artists risks presenting performance-oriented artwork (Being) that is a manifestation of Nothingness, with the possibility that through this Nothingness, Being itself will be validated and elevated. |
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Ariel Baron-Robbins’s videos show her drawing on paper or on glass, but the drawing is imagined—no marks are made. The marks are instead her body's movements, which are at once sensual and awkward, brusque and fluid. In these private/public dances, action is primary and any tangible result is incidental. Her photographs are abstracted memories of these movements, activated by the tension between body and material and the being/nothingness of their momentary existence together. |  |
Sarah Filley presents "Prayer Rope," a project that includes a rope with evenly spaced knots along with a video of her as she ritually rotates it over her lap. In accompanying photographs she documents some distinctive knots whose titles allude to knots’ potential to symbolize the danger, dependence, and ambiguity of human relationships. Knots are perfect examples of simultaneous being/nothingness, and Filley’s approach to these objects via stark black and white imagery and an interest in the religio-sexual essence of this simple form creates a potent effect in its totality. | |||||||
| For Tad Beck’s "Cliff Jump" series he initially photographed his models jumping off a cliff. Then he had these same people reenact captured moments from these dives in the studio, photographically using much longer exposures. The "nothingness" of the air and free-fall that the divers experience as they thrust themselves into the blue-green ocean is echoed, yet chromatically reversed, in the golden plywood floors. In these photos viewers can experience this vertical dance in its discrete moments, taking in the lines and forms of the models' bodies as they trade physical risk for the deeper, darker realms of the imagination. |  |
Peter Dobey presents “photography,” an event of small, insignificant gestures functioning as a total dance, a subtle experience where the sense of “something” is questioned. What was seen? What was experienced? What minute gesture, repetition, movement mattered? If any of them. In the project room during the corps of the show, he presents his “Minute” video, where a woman lies on the floor and turns her body in a series of beautiful, distinct gestures—a fluid struggle against and for her own body in space and time. |
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Directed by Elizabeth Orr, and written by Joey Petropoulos, "Auspicious and Combative," is a video in 7 parts arranged like the Stations of the Cross against the walls of the pew room at Krowswork. Seemingly haphazard in its dialogue and austere in its imagery, the work manifests (vibrates) in-between consciousness and unconsciousness through its distinctive aural and visual rhythms -- like breath and being itself. |  |
The art of Butoh dance was created in the wake of World War II in Japan. Its dancers present a reemergence that embraces both death and rebirth, spirit and life. In this Butoh-inspired experience, "Allness Emerge," Tbird Luv directs an evening of multi-cultural, experimental, inter/inner disciplinary performance, music and video installation that asks the participants to empty out and create from within, exploring new and remembered spaces. Through the synaesthesia of the dance, we will merge into the nothingness of /via Fire, Water, Earth, and Air. | |||||||