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Judson Church at Movement Research and MoMA

Jeden Montag Abend findet „Movement Research at the Judson Church“ statt – „a free, hight visibility, low-tech forum for experimentation, emerging ideas and works-in-progress“ in dem Choreographen, Tänzer, Künstler usw. von überall ihre Arbeiten unter einfachen professionellen Bedingungen zeigen können. Movement Research wurde 1978 als die Schule für Bewegungsrecherche und -konstruktion in New York gegründet und versteht sich als „one of the world’s leading laboratories for the investigation of dance and movement-based forms“. Seit 1991 veranstaltet  Movement Research die Montagabend Performances und organisiert weitere Workshops in der Judson Memorial Church.

Das Judson Dance Theater wurde von einem Kollektiv aus Tänzern, Komponisten und bildenden Künstlern gegründet, die von 1962 bis 1964 in der Judson Memorial Church in Greenwich Village, New York City, auftraten. Bei viele der beteiligten Künstlern wie u.a. Trisha Brown handelte es sich um avantgardistische Experimentalisten, die die Grenzen der Praxis und Theorie des Modernen Tanzes ablehnten und so die Regeln des postmodernen Tanzes erfanden.

 

      

 

Spannenderweise gibt es aktuell im Museum for Modern Art (MoMA) die Ausstellung „Judson Dance Theater: The work is never done“, die von den Anfänge der Judson Church erzählt und über die Gründer der Judson Church Yvonne Rainer, Deborah Hay, David Gordon, Lucinda Childs, Steven Paxton und  Trisha Brown berichtet. Anbei Auszüge der Ausstellung und zu Trisha Brown.

 

About the Exhibition

For a brief period in the early 1960s, a group of choreographers, visual artists, composers, and filmmakers gathered in Judson Memorial Church, a socially engaged Protestant congregation in New York´s Greenwich Village, for a series of workshops that ultimately redefined what counted as dance. The performances that evolved form these workshops incorporated everyday movements-gestures drawn form the street or the home; their structures were based on games, simple tasks, and social dances. Spontaneity and unconventional methods of composition were emphasized. The Judson artists investigated the very fundamentals of choreography, stripping dance of tis theatrical conventions, and the result, according to VILLAGE VOICE critic Jill Johnston, was the most exciting new dance in a generation.

About Trisha Brown in the Exhibition

From her solo and duet performances at Judson Church to the ensemble choreographies she made upon founding her own company in 1970, Trisha Brown´s half-century-long career was characterized by sensuousness, analytical structure, and a feeling akin to flying. (…) Moving images featured prominently in Brown´s work;  she used video as a preparatory tool for her choreography and collaborated with filmmakers such as Babette Mangolte, Elaine Summers, Robert Whiteman, and Jud Yalkut. The installation traverses Brown´s early practice, placing her highly organized „Accumulation“ dances – in which simple gestures accrue through repeated iterations – in relation to the physical abandon seh display in WATER MOTOR (1978), a work Brown described as „unpredictable, personal, articulate, dense, changeful, wild assed.“