Studies (2016 - Present)
Since 2016, Studies: A Dance Cycle has been using writing and choreography to research bodies in the Chinese Qigong fever in the 1980s and 90s. Through close study of an archival photograph of practitioners in 1980s Beijing, Studies approaches Qigong as an alternative form of demonstration that provides an interface for individuals to exercise their bodies in public space as a last resort for the momentarily ungoverned—an impossible, ungainly, precarious position that begs the question: What kind of body can we possibly cultivate other than the one that stands alone, stiff, in opposition, immobile? What craft exactly is our craft that allows us to exist while protesting a political reality, which is not just an event but also a transformative apparatus?
Primarily a solo dance, Studies: A Dance Cycle provokes and captures negotiations between the individual and the public in different settings—from urban hacking to site-specific response to various locations in New York City, including a Long Island Rail Road station in Brooklyn, the original site of the 1964 World Expo and the Westinghouse Time Capsule in Flushing Meadows Park, the streets and roofs of East Village, as well as the contemporary dance and performance art canon such as Movement Research at Judson Church.
Conceived and choreographed by Tingying Ma
Dramaturged by Kang Kang
Studies#1#-#6 Performed by: Tina Wang
Studies#7 Performed by : Jessica Lam, Fumihiro Kikuchi, Jiyon Song
自 2016 年起，《临摹》系列通过编舞和写作整合思考与行动，推进对 20 世纪八九十年代气功热中的中国身体研究。在建设四化的健康、 卫生和生产力的生命政治语境中，《临摹》对一张八十年代北京地坛练功者的档案照片进行动作研究:通过练习气功，人们得以在公共 场域中占据空间，形成集体性、同时也是无可避免的政治性表达，身体成为个人与环境无声交涉的介面——一种不可能的、笨拙的、难 以为继的身体——也由此获得了暂时性的逃逸。在工作过程中，我们想知道，抗议的身体典范何时能不再如坦克人般孤独、僵硬、一动 不动?我们是否能由气功的身体发展出一种不被统治的艺术，使反抗不再依靠政治剧场的事件性，而成为不断游移、转化自身和外在的行动?
《临摹》系列以独舞为主，从城市入侵(urban hacking)开始，捕捉和激发个体与集体在公共场域内的交涉，并在纽约城多处进行回应 和创作。演出选址包括布鲁克林长岛火车站、法拉盛草地公园 1964 年纽约世博会原址及当年埋下的西屋时间胶囊(Westinghouse Time Capsule)、东村的街道和屋顶等，亦在贾德逊教堂动作研究(Movement Research at Judson Church)等当代舞和表演艺术语境中呈现。
Tina Wang is a movement performance artist with modern dance training and a disposition to move from a place of dynamic muscular tension. She tends to dance in a powerful body with the intent of showing the gamut of visceral emotions within conflict and conflict resolution. She strives to perform work that is evocative and communicative to her audiences. Her experience working with The Moving Company shifted the framework she thought about the potential of dance movement collaboration with other art forms. Since then, she has pursued performance work with artists including Tamar Ettun, Tingying Ma, and others within the intersection of experimental dance and moving installations. Her live performances have been seen in Israel (Leon Charney Resolution Center) and in the United States: New York (Lincoln Center, Madison Square Park, Bryant Park, La Mama, Abrons Art Center, Dixon Place, Fridman Gallery, Lower Manhattan Cultural Council, Judson Church, St. Mark’s in the Bowery, Ailey Citigroup Theater, Peridance Capezio Theater, Javits Center, Wild Project, Triskelion Arts, Riverside Theater, Watermill Center, Queens Museum, Katonah Museum, The Cutting Room, Schermerhorn Theater, Times Square 10, TCS Marathon, Summerstage), Boston (Paramount Center), and Saint Louis (Touhill Performing Arts, Center of Creative Arts, Edison Theater).
Fumihiro Kikuchi is a dance artist from Japan exploring cross-cultural understanding in the process of cognitive perspective. Fumihiro thrives on interdisciplinary work in a collaborative environment to creatively investigate innovative movement language. He was a member of Datura: a multidisciplinary improvisational performance group as well as CONDER/Dance in Arizona, and has presented his work at venues in California, Arizona, Colorado, and New York. As a choreographer, Fumihiro was a resident artist at [nueBOX] (2016) and a guest artist at California State University, Fresno (2016). He holds his MFA in Dance from Arizona State University.
Studies #1: Impossible to cool down
Informed by our research into the phenomena and practice of Chinese Qi-gong, Studies reenacts a historical photograph(https://goo.gl/jq2eew) from ’80s Beijing through the lens of choreography. As a solo dancer embodies a group of practitioners, the performance initiates an alternative public body demonstration in the Brooklyn neighborhood of Crown Heights, with its own history of conflict and state violence. Activating an urban non-site, the de-hierarchized body uses a series of gestures and movements, generated through the close-study of Qi-gong, as an interface that constantly negotiates with the environment and audiences both complicit and accidental, creating theatrical space for its own happening.
Reacting to the fraught history of modern body discipline, we envision a different kind of physical existence in the face of the temporality, ambiguity, and fluidity of the political event. Gliding away from the figure of opposition and confrontation, Studies exercises Qi-gong as an ungoverned, undecidable moment in public.
Nostrand Avenue LIRR station in Crown Heights, Brooklyn, NY, US
Studies #2: Walking on walls, flying on roofs
1144 Bergen Performance Art Habitat, Brooklyn, NY, US
Studies #3: Yi:
Studies #3 exercises the notion of Yi through shifting poles of gravity of the dancer's body, which constantly reorients itself in the open, where spatial ambiguity gives rise to new series of movements. Circular choreographic patterns coincide with the celestial architectural framings of the 1964 World's Fair's New York State Pavilion. The flatness of the archival photograph as a object sets up a performative condition of encounter and witness that defies close analysis.
ITINERANT Performance Art Festival NYC, Flushing Meadows Park, Queens, NY, US
[Review on Hyperallergic] [Video]
Studies #4: Inside out
Today’s shared purpose, resistance, is at once urgent and varied. Volume VII will present work by nine artists, each developing their own choreographies of resistance using strategies of conflict, transgression, and care. On Resistance represents a spectrum of movement which challenges systems of control by reconfiguring the body into a medium for opposition.
THE CURRENT SESSIONS Volume VII: On Resistance, Wild Project, Manhattan, NY, US
[Press release] [The New York Times] [Interview] [Video]
Studies #5: Landscape of knowing
Movement Research at The Judson Church, Manhattan, NY,US
Studies #6: I’m the ultra-hygiene
Studies#6 : I’m the ultra-hygiene belongs to the Group Show Roadside Picnic: The Zone curated by Hiroshi Sunairi and Yixin (Sam) Gong at The Chambers Fine Art Gallery. The title of the exhibition is taken from a short science fiction novel written by Arkady and Boris Strugatsky in 1971. The 1979 art film "Stalker," directed by Andrei Tarkovsky, is loosely based on the novel, with a screenplay written by the Strugatsky brothers. Set in the indefinite future, the "Stalker” works as a guide who leads people through the "Zone", an area in which the normal laws of reality do not apply. “As the title implies, ROADSIDE PICNIC is the food meant to be eaten on an excursion by the side of a road. Where does this road lead to within the New York art world, to a maturity of style and content back in China, or toward becoming the leading voices of contemporary discourse? ROADSIDE PICNIC is a celebration of the state in flux as our global world rattles anxiously and attentively”.
Roadside Picnic: The Zone, Chambers Fine Arts Gallery, Manhattan, NY, US
[Blouinartinfo] [press] [ArtAsiaPacific review]
Jan 25, 2018
Post Dance 3x3: Simone Johnson, Tess Dworman, Tingying Ma, Panoply Performance Lab, Brooklyn, NY, US
Jan 25-26, 2018
AIRs Cycle: Chez Bushwick Presents a 2Night Show, The Exponential Festival, Brooklyn, NY, US
Studies #7: Three Hypotheses
Hypothesis: Labor is the body
Hypothesis: The surface contaminates
Hypothesis: Collectivity exists only in a vacuum
Crossing Boundaries at the Dixon Place , Manhattan, NY, US
May 15, 2018