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iLAND

Interdisciplinary Laboratory for Art Nature and Dance

ArtsPool Member
  • About
    • iLAND
    • Jennifer Monson
    • Board of Directors
    • Funders
  • Dance Projects
    • move thing
    • Choreographies of Disaster
    • ditch
    • bend the even
    • in tow
    • IN TOW TV
      • IN TOW TV – Season 1, Episode 1: Kaleidoscope
      • IN TOW TV – Season 1, Episode 2: Nibia Line A
      • IN TOW TV – Season 1, Episode 3: Nibia Line B
      • IN TOW TV – Season 1, Episode 4: Fabric | Time Experiment
      • IN TOW TV – Season 1, Episode 5: Shrugs with balls-5:3
      • IN TOW TV – Season 1, Episode 6: Drawing Overlay
      • IN TOW TV – Season 1, Episode 7: In Out Cut 5:3
      • IN TOW TV Season 1, Episode 8: OUT-OUT-IN-IN-IN-OUT-OUT-IN-OUT-IN
      • IN TOW TV Season 1, Episode 9: Composite | Line
      • IN TOW TV Season 1, Episode 10: Flipping the Firmament | Flesh
      • IN TOW TV – Season 1, Episode 11: Perspective | Tone
      • IN TOW TV – Season 1, Episode 12: T | I | M | E
      • IN TOW TV – Season 1, Episode 13: Time + Tone | Tide Score B
      • IN TOW TV – Season 1, Episode 14: Time + Tone | Tide Score A
      • IN TOW TV – Season 1, Episode 15: Bells Long
      • Bonus Episode! Season 1, Episode 16: Video Perspective
    • Past
  • A Field Guide to iLANDing
    • Guía de campo de iLANDing
  • iLAB Residencies
  • iLAND Symposium
  • Resources
    • A Field Guide to iLANDing
    • BIRD BRAIN Educational Resource Guide
  • iLANDing Laboratories

Valerie Oliveiro

Valerie Oliveiro is Singapore born but she lives and works far away from her beloved nation state in the US. Before she became the resident photographer at Krannert Center for the Performing Arts, she was a freelance Production Manager and Stage Manager for 14 years. She received an MFA (Yale School of Drama) in Stage Management. She has worked with international artists in performing arts venues and festivals.
She is a self taught photographer.

She is interested in spaces and landscapes that are in transition. She is also interested in human use, intervention, strategy of landscape and space, as well as natural-human tension in landscapes and space.

As the Resident Photographer at Krannert Center for the Performing Arts, she photographs events and performances and creates photographic work for web, print and media. Her photos have appeared in the New York Times, American Theatre Magazine and Time Out. She also freelances in event and performance photography as well as archival photography of installations and visual art processes and exhibitions.

move thing – November 2021 Research

February 25, 2022 by

A door is partially open, letting sunlight in and giving the viewer a peek into a garden. On the left of the door is a large window with an abstract drawing pasted on top and similiar digital drawing patterns overlaid around the window frame. In between the door and the window are informational texts about "move thing" showing on Nov 6-7 in Williamsburg, NY.

 

move thing investigates the movement of toxicities through space and socio-environmental systems. Resisting all forms of purity, the work proposes that we are all constantly, inherently, and unevenly making up each other and all other animate and inanimate beings. If we imagine ourselves as soluble, always dissolving and reconstituting choreographically, could we move through toxicity and be with and/or absorb toxicity and find new / alternative / old / transformative relationships to its states / tendencies / behaviors / effects / violences / shifts?  Could we find intelligences within our bodies and abilities to connect more deeply with the mechanisms for survival and support in sites and systems that we are a part of?  In this research event, Monson activates choreographic samples as “sites” within the meta site of the playground and invites 9 interlocutors to contaminate, remediate, and reconstitute new potentialities in the dancing. The playground which is located at the intersections of the Brooklyn Queens Expressway, a bus depot, and entrance to the Williamsburg Bridge has one of the highest air pollution levels in the city. Through the intelligences of improvisation and embodied knowledge, move thing attempts to begin to dislodge dominant strategies of development and resource extraction that radically harm the most vulnerable among us and to cultivate the creative sensitivities possible in this question of how we move and transform the everlasting presence of toxicities in our collective lives.

move thing – dance as reparative action in toxic environments

February 25, 2022 by

move thing is a community-based dance project proposing that the multi-sensory, improvisatory, and choreographic structures of dance contribute to reparative projects in communities that have historically been impacted by toxic contamination due to resource extraction (Uranium and coal mining) and industrial effluents (chemicals, particulates, carbon monoxide, and heavy metals). Phase One focuses on research and partnership building in two rural and one urban communities: the South Valley in Albuquerque; East Central IL, the site of coal ash seepage from the Vermillion County Power Plant; South Williamsburg, Brooklyn, which has one of the highest air pollution rates in NYC. Phase Two creates workshops and performances with these communities on site. Phase Three takes the methodologies developed and shares them through a migratory journey following toxic trails/flows across the continent. The artists, collaborators, and local community partners offer reparative performances, workshops, and community based actions to draw awareness to histories of toxicity, remediation and reparative cultural strategies and future sustainable practices. This phase will end with the publication of “A Workbook for a Toxic World: dance as reparative practice”, and an evening-length dance work performed in both rural and urban performance spaces.

in tow

April 4, 2017 by

Starting with the basic question of how and why we experiment, we have spent the past three years developing questions, practices, material, and scores that look at how movement, sound and image can be used to research perceptual, philosophical, and social constructs in our current political and aesthetic contexts. – Jennifer Monson

Jennifer Monson “in tow” Research in 2015 from MANCC on Vimeo.

IN TOW TV uses the experimental scores and practices of the research process of in tow to create short videos launched on Instagram and Facebook in May 2017. For more, visit thein tow tv channel. 

Selected Press

The Promise of Uncertain Equivalency – Colin Gee

Review: Jennifer Monson, the Spellbinding Shape-Shifter – Brian Seibert for The New York Times

Impressions of: Jennifer Monson/iLAND’s “in tow” at Danspace Project – Erin Bomboy for Dance Enthusiast

Reaching for the Horizon Line: Jennifer Monson/iLAND’s in tow – Angela Brown for Routine Magazine


IN TOW
September 23–24 + September 29–October 1, 2016
8 pm (see below regarding pre-attacks)
Danspace Project
Tickets: $20 general admission / $15 Danspace members

in tow is an ongoing performance research project bringing together 10 artists from 4 different decades, straddling location, discipline and aesthetic to create an evolving working process driven by what we each bring “in tow.” The performance itself is a site for destabilizing what we are familiar with, testing new ground, defining difference and creating a shared practice that resonates with layers of experience, points of view and perspective. in tow is a collaborative project with Susan Becker, DD Dorvillier, Niall Jones, Alice MacDonald, Jennifer Monson, Valerie Oliveiro, Zeena Parkins, Angie Pittman, Nibia Pastrana Santiago. David Zambrano and Rose Kaczmarowski have also been a part of in tow, but will not be performing at Danspace Project.

The Saturday, September 24, performance will be followed by an open discussion of the experimental contexts, questions and concerns that shape the in tow project led by Professor of Performance Studies, Ramón H. Rivera-Servera.

Please note, every night of in tow is different. If you wish to attend multiple performances, we are offering $10 tickets for each additional performance you attend. Please contact lydia@danspaceproject.org for details.


in tow pre-attacks
September 29-October 1, 2016 at 6pm
Danspace Project
FREE

in tow will hold a priming event each evening during the second week of performances. These events will give the audience an opportunity to experience some of the underlying infrastructure of the work. Each night will be different and shaped by a different research area of the project. The events will develop over an hour-long period and prime the experience of the performance event, which starts at 8 pm.

September 29 horizon line/fragment
A perceptual installation that works against the receding nature of a horizon line and brings the public into a new sense of dimensionality and continuity.

September 30 tide/groove
A sound experiment developed from the horizon line set-up and the rhythmic patterns developed through the in tow process. The score activates the particularities of the acoustic architecture of the church.

October 1 solo/collective: tone/relation
A series of solos and duets that pull away what we bring in tow.

For more information, please visit www.danspaceproject.org.

 

 


 

Photo by Valerie Oliveiro

Photo by Valerie Oliveiro

in tow was initiated as a project to acknowledge and deepen the artistic and cultural legacies we carry as “experimental” cultural producers. It acknowledges the importance of experimentation as a mode of being and creates experimental modes of thinking that may not be attached to particular aesthetics and styles, while at the same time acknowledging our bodies’ histories.

The material for the performances will be drawn from two years of experimental collaborative research that explores interdisciplinary creative processes across multiple contexts. The collaborators on in tow span discipline, geography, and generation. Some are artists with whom Jennifer Monson has worked since the 1980’s: DD Dorvillier, currently based in France; Zeena Parkins, based in New York City; David Zambrano (not performing), originally from Venezuela and currently based in Belgium. Others are new collaborators Monson has met since moving to the Midwest: Susan Becker, a fashion and costume designer based in Illinois; Valerie Oliveiro, a photographer and performer based in Minnesota; and Rose Kaczmarowski (not performing), a costume designer and bicycle community activist based in Indiana. Finally, four younger collaborators are joining the project: Niall Jones, based in New York City; Nibia Pastrana Santiago, based in Puerto Rico; Angie Pittman, recently relocated from the Midwest to New York; and Alice MacDonald, also based in New York.

Photo by Valerie Oliveiro
Photo by Valerie Oliveiro
Photo by Chris Cameron
in tow at the Danspace Project, September 2016

Jennifer Monson’s in tow Residency at MANCC

Photos by Chris Cameron

Live Dancing Archive

April 4, 2017 by

Live Dancing Archive Volume I premiered at the University of Vermont in October of 2012 and was performed at The Kitchen, NYC, NY; Krannert Art Museum, Urbana, IL; Chicago Humanities Festival, IL; and Columbia College Improvisation Festival, Chicago, IL in 2013.

For the web-based archive of this project, see the website here.

Choreography: Jennifer Monson
Music Composition: Jeff Kolar
Lighting and Stage Design: Joe Levasseur
Costume Design: Susan Becker
Video Installation: Robin Vachal
Digital Archive: YoungJae Josephine Bae
Production Manager: Davison Scandrett
Dramaturgy: Betsy Brandt

Live Dancing Archive Volume II
Performers: Niall Jones, Jennifer Monson, Tatyana Tenenbaum. Photo Credit: Valerie Oliveiro

Live Dancing Archive Volume II was premiered at New York Live Arts, October 2014,  and at The Richard B. Fisher Center for the Performing Arts at Bard College, as part of THE HOUSE IS OPEN- a pop up installation and performance  event, November 2014

Choreography: Jennifer Monson
Performance: Jennifer Monson, Niall Jones, Tatyana Tenenbaum, Valerie Oliveiro
Music Composition: Jeff Kolar
Lighting and Stage Design: Joe Levasseur, Valerie Oliveiro
Costume Design: Susan Becker
Video Installation: Robin Vachal
Digital Archive: YoungJae Josephine Bae
Production Manager: Davison Scandrett

Selected Press:

Artist to Artist Talk: Jennifer Monson and DD Dorvillier on the body as archive

‘Bird of a Feather’, Brooklyn Rail Review – Cassie Peterson

‘Bringing Nature Inside With Space and Light’, New York Times Review – Siobhan Burke

Live Dancing Archive at the Chicago Humanities Festival 

‘Improvising, a Mover Lets You See Her Think’, New York Times Review – Gia Kourlas

‘Migrating Back to the Wilds of the Stage’, New York Times Feature – Brian Siebert

‘The Body as an Object of Interference: Q + A with Jeff Kolar’, Rhizome – Maura Lucking

New York Times, Dance Listings – Rosalyn Sulcas

Jennifer Monson, ‘Master Improviser’, Dance Magazine – Wendy Perron

‘Exposed in Flight’, Danceviewtimes – Martha Sherman

The New Yorker, Listing

Interview with Jennifer Monson, The Dance Enthusiast – Trina Mannino

WNYC Radio Broadcast – Brian Siebert

Time Out NY, Critics Pick – Gia Kourlas

American Realness, New York Times Review – Alastair Macaulay

____________________________________________________________________________ 

Live Dancing Archive Volume I proposes that the body has the possibility of archiving and revisiting multiple scales of experience. Specifically, Monson looks at how experiences of environment and ecological dependencies are registered through physical movement. Live Dancing Archive negotiates and explores what a queer ecology might offer for dancing bodies and rapidly shifting conceptions of place. Furthermore, the piece looks at how Monson’s navigation of her own queer, feminist and animal-like body has shaped relationships to cultural and social phenomena.

The choreography draws upon more than a decade of Monson’s own dance-based environmental research, particularly her 2002 piece BIRD BRAIN Osprey Migration, an eight-week dance project and tour along the Atlantic Flyway, the bird migration route that extends from the northern Atlantic Coast to South America. The video installation and digital archive elements of the piece query the process of archiving as well as the shifting nature of dance, and environmental phenomena.

Vachal’s installation distills 50 hours of video documentation from BIRD BRAIN into a three-hour single channel video loop. The video addresses duration, sensation and multiple scales of movement, while providing an alternative perspective into the creative research process, performances, workshops, and community engagements of the extensive tour. Bae collaborated with Monson to make the web-based archive, www.livedancingarchive.org, Monson hopes the site will make a meaningful contribution to contemporary discourses about archiving dance and environmental projects.

Kolar uses the electro-magnetic spectrum of radio frequencies to compose an indeterminate score that intensely alters our perception of the space. Levasseur continuously reshapes the visual experience of the space by shifting a mobile horizon line and a range of lights in response to the spaces generated by Monson’s movement. Becker’s costumes allow Monson to transition from human to phenomenon, space invader to pop star, heroine to pedestrian, and bird to rock.

Live Dancing Archive Volume II expanded the investigation of the body as archive by transmitting the dance knowledge of Live Dancing Archive Volume I to Niall Jones. Valerie Oliveiro and Tatyana Tenenbaum. How does the work transform as it moves through and with different dancers?

The addition of the new collaborators highlights the infinite possibilities of archiving indeterminate systems and explores the creation of novel ecosystems – a term borrowed from environmental science. Novel ecosystems “differ in composition and/or function from present and past systems”

 

 

This program is made possible by the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and additional funding from The Andrew W. Mellon Foundation. Also supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Support for dance programs at The Kitchen is provided by Mertz Gilmore Foundation, The Jerome Robbins Foundation, The Harkness Foundation for Dance, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency. Additional support provided by a Creative Research Award and Research Board Grant from the University of Illinois of Urbana Champaign and the Marsh Professorship at Large program at the University of Vermont.

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