Choreographer Corrie Befort presents an ensemble performance within
Ann Hamilton’s exhibition
the common S E N S E
Saturday April 25, 2015 | 2:30 PM Final ArtBreak of the installation
Henry Art Gallery, University of Washington
15th Ave NE & NE 41st St. | Seattle
Museum Admission Fees: $10 | seniors + children $6 | free for Henry members
INFO: henryart.org 206 543-2280 firstname.lastname@example.org
During the closing weekend of the exhibition, choreographer Corrie Befort (Salt Horse, LIMITS) guides a sensory tour within Ann Hamilton's installation the common S E N S E which includes an ensemble performance in the atmospheric Field of Bullroarers. Audience members join ten dancers in a simple score that invites participants inside the logic of the choreography and offers a visceral lens for the installation. the common S E N S E is in part about the human/animal commonality of touch described as “not only physical contact but a form of intellectual and emotional recognition.” Befort offers physically engaged entry to these ideas, quickening sensation through proximity and lively weaving geometries.
Joining Befort is Seattle sound artist Jason E Anderson (DRAFT, LIMITS) and beloved Seattle performers Kim Lusk (zoe | juniper), Matt Drews (The YC), Mary Margaret Moore, Ariana Bird, Alexandra Maricich, Sean Rosado, Coleman Pester, Devin McDermott and Linsyanne Owen.
Befort has been regularly scoring Henry ArtBreaks during the life of this this six-month exhibition, including one with her collaborative company Salt Horse in March, 2015. She has followed Hamilton’s work closely since 1998, drawn by mutual appetites toward imagistic proposals that invite multi-sensory participation.
Ann Hamilton: the common S E N S E
the common S E N S E is a museum-wide exhibition of newly commissioned works by American artist Ann Hamilton (born 1956). Hamilton conceived of the Henry as a hub connecting to the University of Washington's collections and academic programs. As a Visiting Fellow, she conducted research in the Burke Museum of Natural History and Culture, the University Libraries Special Collections, and the Henry's holdings of costumes, textiles, and photographs. The material elements of the exhibition are drawn from these collections. Images of animals specimens; bestiaries and children's ABC primers; fur, feather, and gut garments are stitched together with sound, voice, printed texts, and the movement of air in a building newly opened to light. Time is also a material of the exhibition. Over the six-month duration of the common S E N S E, the project will shift with some elements depleting and others accumulating. Periodically, the galleries will be animated by reading and singing.
Aristotle wrote in Historia Animalum and De Anima that "touch" is the sense common to all animal species. In this project, touch is not only physical contact but a form of intellectual and emotional recognition. The exhibition is full of images and skins of animals: once alive, they touched and were touched in return by the world they inhabited. For Hamilton the common S E N S E is "an address to the finitude and threatened extinctions we share across species—a lacrimosa, an elegy, for a future being lost."
Seattle-based dancer/choreographer/designer Corrie Befort has been creating award-winning dance films and performance works through rigorous collaborations for the past 16 years. Presented and commissioned nationally in the US, Japan and Belgium, Corrie co-directs Seattle/NYC-based performance company Salt Horse with Beth Graczyk + Angelina Baldoz and performance/cinema project LIMITS with Jason E Anderson. She builds physically activated visual art, scenography and costuming within Salt Horse and for other artists including Mark Haim, Cherdonna/Jody Keuhner and soloists working with Deborah Hay. Her dance films have screened in festivals across the USA, Japan, Europe, the Middle East and South America and she teaches dance filmmaking at Cornish College. Corrie is dedicated to investigating reciprocal activations of sensation, perception and imagination in her creative work and in her teaching. For the past six years she has been teaching dance classes for people with Parkinson's Disease in Seattle and beyond, is developing a dance for MS format, teaches Autism Movement Therapy and has created a dance class for people in recovery from homelessness, addiction and trauma through the Path with Art Program. As a dancer she is currently a soloist for both Scott/Powell Performance and the The Withing Project (Beth Grazcyk + Hope Wechkin) and has studied recently with Companie Marie Chouinard (Montreal), Eric Beauchesne (Kid Pivot) and Michael Schumacher (Ballet Frankfurt). An avid hiker and kayaker, she makes frequent ventures into the High Sierras, Channeled Scablands and San Juan coastal waters.
cBefort.com SaltHorsePerformance.com LIMTS.com
Ann Hamilton (U.S., born 1956) has created multi-sensory installations in numerous spaces, including The Hirshhorn Museum and Sculpture Garden, Washington D.C. (2003, 1991); The Wanås Foundation, Knislinge, Sweden (2002); The Pulitzer Foundation for the Arts, St. Louis (2009); and New York’s Park Avenue Armory (2012), among others. Hamilton is the recipient of many honors including a MacArthur Fellowship, United States Artists Fellowship, NEA Visual Arts Fellowship, Tiffany Foundation Award, and Guggenheim Fellowship. This year, she was inducted into the American Academy of Arts and Letters. Hamilton represented the United States in the 1991 São Paulo Bienal and the 1999 Venice Biennale. In 1992, she established her home and practice in Columbus, Ohio, where she is a Distinguished University Professor of Art at The Ohio State University.
In 2004, Hamilton created the permanent installation LEW Wood Floor for the opening of the Seattle Central Public Library. The floor's raised letterforms, tactile underfoot, spell out the first sentences from books in the library’s collection in eleven languages. Most recently, Hamilton was selected from a pool of over 340 applicants for a large-scale, outdoor commission on the new public piers as part of Waterfront Seattle, a city-funded project to replace the Alaskan Way Viaduct with twenty-six acres of new public space, streets, parks, and buildings.
Photo: Corrie Befort + Tim Summers