Abigail Levine
Abigail Levine is a New York-based choreographer whose work is rooted in dance and draws on visual and performance art. Her research, which extends to choreography and writing, explores the expressive, conceptual, and political dimensions of contemporary abstract and experimental form. Her works have been presented throughout the US, in Cuba, Brazil, Canada, Venezuela, Mexico, Egypt and Taiwan at venues including Movement Research Festival, Mount Tremper Arts Festival, Danspace Project, Roulette, Gibney Dance, Center for Performance Research, Fridman Gallery, Kennedy Center, Vox Populi, Trinosophes Detroit, Hemispheric Institute Encuentro, SESC São Paulo, Prisma Forum/Mexico, and the Benaki Museum, Athens. Levine has received funding and support from Foundation for Contemporary Arts, MacDowell Colony, New Music USA, Bemis Center for Contemporary Arts Residency, Jerome Foundation/ Tofte Lake Emerging Artist Residency, Brooklyn Arts Exchange, Puffin Foundation, Brooklyn Arts Council, Knockdown Center, Marina Abramovic Institute, and Jacob’s Pillow Professional Advancement Award. Levine was a reperformer in Marina Abramovic's retrospective at the Museum of Modern Art and has also performed recently in the work of Clarinda Mac Low, Carolee Schneemann, Larissa Velez-Jackson, Will Rawls, and Mark Dendy. In 2014, Levine learned Yvonne Rainer's iconic 1965 work Trio A and continues to performer Rainer's early works, including at the MoMA exhibition "Judson Dance Theater: The Work is Never Done." She holds a Masters in Dance and Performance Studies from NYU under the advisement of André Lepecki and was the 2013-15 editor of Movement Research's digital performance journal Critical Correspondence, where she co-curated the Dance and the Museum project. Levine has been a visiting professor at Wesleyan University and Florida State's FSU-in-NYC program. Levine now divides her time between NYC and Los Angeles.
Address: Brooklyn, New York, United States
Address: Brooklyn, New York, United States
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Meireles, herself a choreographer and researcher based in Rio de Janeiro, gathered a group of artist-scholars from various creative and theoretical orientations to begin to address these questions. Over the course of three years, Meireles has led the development of Temas de Dança into a multi-platform, creative research project. The work has received significant funding from the city of Rio and has conducted workshops and discussions at the Museum of Art in Rio (MAR), Federal University of Rio de Janeiro (UFRJ), and the Choreographic Center of Rio, as well as festivals and conferences throughout Brazil. The project’s website hosts videos of roundtables with artists and scholars, multi-media presentations on issues in dance history and practice, featuring materials previously unavailable to the public in Portuguese, as well as links to relevant organizations, videos, and texts. “Temas de Dança isn’t a dance archive, nor a catalog, nor does it attempt to provide news about dance today. It is another arm [of the field] that tries to reflect, starting with practice, what connections we can make with the world and some of the contexts that are close to us.” Significantly, although Temas de Dança has developed partnerships with various universities and other institutions, it has remained an independent entity.
Meireles contextualizes Temas de Dança within the current expansion of dance funding and education in Brazil, which was prioritized during the Lula administration (2003-2011). She also discusses artists’ involvement in the Days in June in 2013, the most significant protest movement to emerge since the end of the dictatorship in the 1980s, and her understanding of the connections between artistic production and progressive, social change. “[T]he field of art did not stay out of the movement. We artists, struggling to improve our situation in the arts, came together to work with other struggles… I think that it is really a debate within the arts about the supposed place of art as a way to reform the ties of a broken society… I think that the place of art is to fit in that unexpected place that you don’t have control over. If not, art is problematic, no?”
—Abigail Levine
http://hemisphericinstitute.org/hemi/en/e-misferica-72/levine
Meireles, herself a choreographer and researcher based in Rio de Janeiro, gathered a group of artist-scholars from various creative and theoretical orientations to begin to address these questions. Over the course of three years, Meireles has led the development of Temas de Dança into a multi-platform, creative research project. The work has received significant funding from the city of Rio and has conducted workshops and discussions at the Museum of Art in Rio (MAR), Federal University of Rio de Janeiro (UFRJ), and the Choreographic Center of Rio, as well as festivals and conferences throughout Brazil. The project’s website hosts videos of roundtables with artists and scholars, multi-media presentations on issues in dance history and practice, featuring materials previously unavailable to the public in Portuguese, as well as links to relevant organizations, videos, and texts. “Temas de Dança isn’t a dance archive, nor a catalog, nor does it attempt to provide news about dance today. It is another arm [of the field] that tries to reflect, starting with practice, what connections we can make with the world and some of the contexts that are close to us.” Significantly, although Temas de Dança has developed partnerships with various universities and other institutions, it has remained an independent entity.
Meireles contextualizes Temas de Dança within the current expansion of dance funding and education in Brazil, which was prioritized during the Lula administration (2003-2011). She also discusses artists’ involvement in the Days in June in 2013, the most significant protest movement to emerge since the end of the dictatorship in the 1980s, and her understanding of the connections between artistic production and progressive, social change. “[T]he field of art did not stay out of the movement. We artists, struggling to improve our situation in the arts, came together to work with other struggles… I think that it is really a debate within the arts about the supposed place of art as a way to reform the ties of a broken society… I think that the place of art is to fit in that unexpected place that you don’t have control over. If not, art is problematic, no?”
—Abigail Levine