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Installations

Interstice

Presented by the Ririe-Woodbury Dance Company and the Utah Museum of Contemporary Art – July 13, 2015

Choreography and direction by Daniel Charon in collaboration with the performers: Bradley Beakes, Yebel Gallegos, Mary Lyn Graves, Breeanne Saxton, Bashaun Williams, and Melissa Rochelle Younker.

Interstice is a movement installation piece that is envisioned as a rhythmical exploration of personal timings conceptualized and choreographed by Ririe-Woodbury Artistic Director, Daniel Charon. Inspired by UMOCA’s exhibition showcasing forensic architect, Jennifer Seely, the movement piece considers the notion of interval–time between things, gaps in memory, and layers. It examines what the limitations of physical barriers can mean and present.

“The exposed gallery space of Jennifer Seely’s Supporting Elements revealed to me the inherent patterns found suppressed behind the facade of a gallery wall,” explains Charon. “The now visible, hidden spaces seemed to exist to support the illusion of something that strives to be inconspicuously perfect. This felt alluringly similar to our personal outer shells and what they can elegantly disguise. Being in this room made me wonder about bodies in space, separated or connected, navigating different intervals of physical limitations and how existing in this reality can reveal a spectrum of truths.” – Daniel


Invisible Gaze

Presented by the Ririe-Woodbury Dance Company and the Utah Museum of Contemporary Art – July 13, 2015

Choreography and direction by Daniel Charon in collaboration with the performers: Bradley Beakes, Yebel Gallegos, Mary Lyn Graves, Breeanne Saxton, Bashaun Williams, and Melissa Rochelle Younker.

InvInspired by UMOCA’s exhibition, Panopticon, six dancers from the Salt Lake City-based touring company will perform a durational movement installation using the Main Gallery exhibition as a thematic backdrop. Panopticon explores surveillance—its many technologies, constructs, and underlying philosophies—and how a culture of the monitoring gaze subsequently normalizes social behavior.

“The idea of a panopticon inspired me to think about the act of watching and led me to consider the implications of context on subjectivity. By creating a visual tapestry of movement I urge the audience of this installation piece to question their own methods of watching and how the conversation in their minds affect how and what they see. Dance, a visual art-form whose primary intake is watching, offers a unique platform to question different methods of viewing. It is innately ephemeral and offers the opportunity to embrace temporality in a world where virtually everything is captured, recorded, and stored. To witness someone, in very close proximity, who is FULLY engaged in their physicality––to see the sweat on their skin, to hear their breathing, to feel the air they are moving around you, can unplug the new digital norm and question the authenticity of human experience.” – Daniel

Viewers were encouraged to use their smart-phones to actively take pictures of the viewing experience. They posted images to INSTAGRAM using #invisiblegaze to populate the live surveillance-feed presented as part of the exhibit. An example of the user-generated content:

For a complete gallery of the INSTAGRAM FEED goto: http://www.invisiblegaze.com.


Kinetic Spaces

Presented by Ririe-Woodbury Dance Company and Utah Museum of Contemporary Art – August 16th, 2013

conceived, directed and choreographed by Daniel Charon

created and performed by Brad Beakes, Alexandra Jane Bradshaw, Yebel Gallegos, Mary Lyn Graves, Tara Roszeen McArthur, and Bashaun Williams.

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Kinetic Spaces is a durational dance event that co-exists with the artwork currently on exhibit at UMOCA. Wander about and discover vignettes of movement that occur throughout the gallery as the Ririe-Woodbury performers act as dynamic art highlighting the architecture of the space. Experience this living installation as you would any dimensional art piece: with no beginning, middle, or end.

Kinetic Spaces will feature six elegant dancers, a film by video artist Ellen Bromberg and a video installation by Ririe-Woodbury’s Artistic Director Daniel Charon. Complementing those pieces will be an open cash bar, as well as several food trucks including Lewis Bros, Off the Grid, Waki Paki, and Blue Star Juice. Not only shall food and drink entertain the palate and mind but openings for both the new exhibit Creating Absence and UMOCA Art Truck installation for the 2013-2014 school year featuring Calder Kamin will commence. A curatorial walkthrough at 6:00 pm along with the gallery stroll will also be presented during the evening.


Sound as Object: Cal Arts Spring 2012 Course/Workshop

Choreography for a Liminal Space

The Sound as Object workshop that collaborated to create this piece, was conceived as a think-tank focused on questions and speculations about “physical thinking”, a research and production workshop, leading to a collectively designed, interactive environment. A key question guiding the course: How are concrete and virtual cultures forming our logic by co-forming our posture, movements and stillness?

Collaborators: Justin Asher, Daniel Charon*, Conor Fields, Simon Harding*, Jinku Kim, Boone McElroy, Arturo Molinar-Avitia, Bryne Rasmussen and Tomio Ueda with faculty Nina Waisman, Tom Leeser, Dave Mickey and visiting artist Natalie Metzger* // *appearing in video

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Itinerant Dance Orchestra

The brain child of Ivy Flores, IDO is an Interdisciplinary site specific collaboration with a choreographer, media designer, costume designer and an animator. This project, developed and performed at the California Institute of the Arts in 2012, is a synthetic and itinerant performance utilizing dance, light and sound that redefines the surrounding environment and the motion within the space as a musical score to be read and performed by a musician.


Open Source Studio

Created for the fall of 2012 at the California Institute of the Arts, the Open Source Studio is an entirely new approach to studio practice and online education. The course is intended as a kind of “data-happening,” in which the graduate students of the CalArts Center for Integrated Media are invited to participate in a class designed as a collective artwork, a dynamic publishing project, or as Roy Ascott might describe: a gesamtdatenwerk (total data work). In the telematic culture, pluralism and relativism shape the configuration of ideas – of image, music, and text – that circulate in the system. More about OSS.

Second Life First : Virtual Dance Performance/Installation Piece : CalArts Integrated Media Project

The InstallationSecond Life First takes place in Second Life, an online, 3D virtual world. The performance has two main participants and long-time partners; Natalie, who performs as her avatar, ‘dorishumphry,’ and Daniel performing as his avatar ‘chiligoldman.’ The work explores relationships at a distance, as well as the way in which artistic practice and choreography is carried out across the telematic divide using virtual space as a studio. Project Hyperessay →

 

Artistic Director // Choreographer // Teacher

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