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Venues – press – credits

 

Venues

Barbican Centre, London, England. (October 10 – 14, 2000)

As part of Merce Cunningham: 50 Years show:

  • Castello di Rivoli, Turin, Italy. ( Jun – Aug 2000)
  • Palais Liechtenstein, Vienna, Austria. (May 2000)
  • Fondacio Serralves, Oporto, Portugal. (Sept 10 – Nov 7, 1999)
  • Fondacio Antoni Tapies, Barcelona, Madrid. (January 21 – March 21, 1999)

Wexner Center for the Arts, The Ohio State University, Columbus, Ohio. In Body Mecanique: Artistic Explorations of Digital Realms . (Sept 18, 1998 – Jan 3, 1999)

Premiere. Electronic Theater, SIGGRAPH, Orlando, Florida. (July 1998)

Preview. Belfast Festival, Belfast, Northern Ireland. (November 1997)

 

Press

  • “Dance’s Digital Summer” by Jennifer Dunning, New York Times, March 14, 1999.
  • “El coreógrafo Merce Cunningham enseña sus trabajos con el ordenador” by R. Bosco / S. Caldana, El País, February 11, 1999.
  • “Merce Cunningham,” Arte y parte (Madrid), # 19, Feb-March 1999.
  • “Internet, moteur de creation de la danse contemporaine,” general feature by Dominique Fretard, Le Monde, December 29, 1998.
  • “Dancing with Shadows,” short feature in Time digital, June 1998.
  • “Electronic art: Body Mecanique and the new digital artworld,” by Kim Leddy, AliveWired in Columbus Pages, 1998.
  • “Let’s Dance,” profile/essay by Diana Phillips Mahoney, Computer Graphics World, May 1998.
  • “ghost catching,” profile/essay by Darcy Cosper, Metropolis, May 1998.
  • “Drawing a Line Dance from Mind to Screen,” profile/essay by Matt Mirapaul, New York Times on the Web, November 6, 1997.

 

Credits

Choreography: Merce Cunningham
Conception & design: Paul Kaiser and Shelley Eshkar
Music: Ron Kuivila
Installation designer: Marco Steinberg
Dancers: Jeannie Steele and Jared Phillips
Software: Michael Girard and Susan Amkraut

The National Dance Residency Program, a grant program underwritten by the Pew Charitable Trusts and administered at The New York Foundation of the Arts, contributed initial funding for the creation of new choreography for the computer by Cunningham. The Foundation for the Contemporary Performance Arts, Inc., assisted with equipment purchases.

Riverbed, Unreal Pictures, Discreet, and Biovision Motion Capture Studios provided in-kind contributions.