Issue #40
Spring 2012
The editor’s letter is always the last to come in the production of the journal. It seems like perhaps a result of procrastination, but in fact it has reason. The editor’s letter although the first text in the publication requires an overview that can only be achieved after the whole is finished. It requires a sober reflection on content, resulting in the production of an introduction that invites the reader to partake. In this case, my last editor’s letter, I, of course, have much to reflect upon. Mostly, I thank the teams that have worked on the journal with me. All of them. Jill Sigman, Darrah Carr, Rachel Bernsen, Tim Murray, Danielle Goldman, Buck Wanner, Troy Lambert, Moriah Evans. And, of course, the MR Staff who continue to support this overwhelming project with their time, energy, and eyes. And to Barbara and Carla for giving me this opportunity. And the many writers and artists who have inspired these pages. (If I am forgetting someone, please forgive me.) I am excited about this 40th issue. Sarah Michelson was the single editor-in-chief before me, and it’s her artist portfolio gracing the pages and cover. I am also pleased to pay tribute to some of the wonderful photographers–Vicente de Paulo, David Bergé, and Miana Jun—who have worked with me during these six years.
Editorial team
Cover Artist
Sarah Michelson
Editor-In-Chief
Trajal Harrell
Managing Editor
Moriah Evans
Contributing Editor
Jane Gabriels - Buck Wanner - Cristiane Bouger - Matthew Lyons - Jill Sigman - Dana Salisbury
Copy Editor
Clarinda Mac Low
Sarah Holcman - Troy Lambert
Articles
Editor's Letter
The editor’s letter is always the last to come in the production of the journal. It seems like perhaps a result of procrastination, but in fact it has reason. The...
News: P.S. 122
The classic column-obstructed East Village viewing experience . . . gone? With P.S. 122’s storied building poised for a major renovation, the New York performance world takes a moment to...
Karen Bernard and The Mix: Interview with Moriah Evans
Moriah: Can you speak about your own experience as an artist and curator over such a long period of time? With all this self-production and the D.I.Y. aesthetic in New...
Imo Dimchev
1. Where were you born? When? Sofia, Bulgaria, 16 November 1976 2. Do you pay attention to the Zodiac (astrology)? I’m Scorpio, moon in Virgo 3. What do you think...
Datebook: Young Jean Lee’s Theater Company
2012: MRPJ asks me to write a narrative of my career. I decide to focus on people and organizations who helped me to develop as an artist, since they’re the...
Bucharest: Moving Dialogue Exchange, In the Making of a New Revolution
While observing Bucharest from the window of a flat on the 14th floor, I learned attentively about the history of earthquakes that afflicted Romania. On account of the country being...
Interview: Antonija Livingstone with Jane Gabriels
JANE GABRIELS: What or who do you consider to be major influences in your work and thinking? What frames what you do/ think about in your work? ANTONIJA LIVINGSTONE: I...
4 Question Interview with Luke Miller, Pedro Osorio, Joe Poulson, and Darrin Wright
Question 1: Today who is your one favorite artist—living or dead—in any field? Pedro Osorio: Louise Bourgeois Luke Miller: David Bowie Joe Poulson: Paul McCarthy Darrin Wright: Andy Warhol Question...
Vienna: Conversation Between Jack Hauser and David Berge
David Bergé: It is August 22nd, 2011 and we are in Vienna in the Wohnung Miryam van Doren, an apartment as an art project that you started in 1999. Jack...
Trajal Harrell interviews Sarah Michelson
TH: And the process excruciating? SM: Yes. TH: How so? SM: Many ways...gosh, not sure how to begin...the basic problem of finding rehearsal spaces that could work for this dance...the...
Sarah Michelson's Dover Beach: Translating Dance Concepts in the Process of Mastering a Form
Extravagance and idealism were qualities cherished by those who embraced Romanticism. The movement that took place in Western Europe in the middle of the 18th century influenced many countries in...
Taking Responsibility For Time
Opening In the beginning, there are words, and there is movement. Walking, a woman, dressed plainly in white t-shirt, shorts, and shoes. Her path describes a circle through the space,...
The Institution and the Deep Blue Sea
What is the function of performing arts in relation to a large arts venue? To provide spectacle? To engage community? To visibly demonstrate some link to what people think of,...
Dancing About Architecture
Sarah Michelson had turned the theater around, moving the audience onto what is usually The Kitchen’s stage. Before the doors opened, however, we knew only that we had to wait...
Legacy: Kathy Westwater & Cathy Edwards (Part 2)
Kathy Westwater: We discussed in our last conversation what it was like for you at that point in your life, things that were going on within Movement Research then [when...
Exit Interview: Ursula Eagly interviews Trajal Harrell
Ursula Eagly: When did you first become involved with the [Movement Research Performance] Journal ? When was that, and what was your first project? TH Harrell: I can’t remember the...