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photo by John Musial

Body of Work
THE SPACE BETWEEN TWO SERIES

January, 2001
Links Hall Performance Series
Links Hall, Chicago

In this series, Local Infinities invades the ostensible emptiness between the things we can observe and measure.

 

 

 

Credits [ bios ]

CURATED BY
Local Infinities

TECHNICAL DIRECTION AND LIGHTING DESIGN BY
Dadealus

   
Company Performance
Local Infinities Vanishing Point
cavity lab Deep-Rooted
Larry Underwood Corpus Delicti: Table for Two
Palomar Memory Palace and Chinese Motorcycle Culture
YounGodds YounGodds at the Infinity Lodge
 

DEEP-ROOTED

Where is the place that is the point of reference, of departure, of origin? How do you sort through the debris of time? How do you repair a broken world? How do you conquer distance? Where do you begin?

Deep-rooted explores uncertain territories—where your past is as foggy as your future, where places you've come from melt behind you, where your belonging can change as frequently as your name. Four beginnings with no end in sight unveil the inadequacies of memory. A man stands on shaky ground attempting to stop time from slipping through his fingers. A woman collects residues of things slowly disappearing.

DEVISED AND PERFORMED BY
Vlatka Horvat and Joel Johnson (Chicago)

ORIGINAL MUSIC BY
Antun Toni Blazinovic (Croatia)

VIDEO BY
Kristina Horvat Blazinovic (Croatia)

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cavity lab (Vlatka Horvat, Joel Johnson, Antun Toni Blazinovic, Kristina Horvat Blazinovic) is an international group whose mission is to devise visual and poetic landscapes of live art through physical actions, gesture, image, and sound. Cavity lab projects emerge from explorations of spaces in-between and the interstices of self and culture, employing as a point of origin a range of texts, objects, environments, and media. Working in collaboration, we explore, sample from, alter, and reshape our often contradictory experiences, memories, and dreams and use the impact of source materials and ideas upon our lives. Members of cavity lab have performed, exhibited, and produced work in the U.S. (Chicago, Philadelphia, Atlanta, Cleveland, Minneapolis), England (Chichester, London), Austria (Eisenstadt, Schramberg), Slovenia (Ljubljana, Velenje, Murska Sobota), and throughout Croatia. For more information, visit the following websites: http://www.megsinet.net/~clab, http://www.geocities.com/kristinahb, and http://scena.hgu.hr/bassplayer/
 


CORPUS DELICTI: TABLE FOR TWO

Dr. Nick Tulp, with assistance from Adrianne Adriaaneson, invites you back into the anatomy theater of the sixteenth century, when a corpse was a corpse and the dissection went all night long.

corpus delicti:
(di lik'ti, -te) {ModL., lit., body of the crime} 1. the facts constituting or proving a crime; material substance or foundation of a crime: the corpus delicti in a murder case is not just the body of the victim, but the fact that he has been murdered 2. loosely, the body of the victim in a murder case

"Trembling, I went there to sit alone, for it is comforting to sit beside the dead and measure the distance between them and us." Richard Selzer, Mortal Lessons

DEVISED AND PERFORMED BY
Larry Underwood

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Larry Underwood has worked in the Netherlands for over 6 years, helping to realize shows in ship locks, airplane hangars, indoor junkyards and abandoned factories. He has worked with internationally-renowned theater companies such as Dogtroep and Theatregroup Hollandia. In 1997 Larry created a performance in tidal waters on the island of Terschelling for the location theatre festival Oerol, and in 1998 he created an outdoor performance along the Maas riverbank in Nijmegen. The summer of 1999 saw the world premiere of Kippetje, in a highly enjoyable, warmly welcomed tour through the Appalachian valley and along the shore to the Chesapeake Bay. Most recently Larry co-created the air/acceptance site and designed the entrance site for Redmoon's Halloween Spectacle.
 


MEMORY PALACE AND
CHINESE OTORCYCLE CULTURE

The nagging question: why did the five Russian airforce pilots sped across Inner Mongolia and barter their airplanes with bewildered Chinese government officials for a pack of Harley-Davidson motorcycles and exile in a moist Chinese city? Can one of these Russians get close to the zoo-born baby panda for a photograph without invoking the wrath of its mother?

Underlying: what does the exile have to gain?

Using a long-forgotten memory trick known as The Memory Palace (created by the Jesuits and used to learn Chinese in order to attempt to convert the Chinese Emperor to Christianity in the 17th century) 'Memory Palace and Motorcycle Culture' will demonstrate how to use imaginary architecture to slow down (ever so slightly) the decay of relationships between: people & people; people & buildings, and the mother panda & the boldest of the bold bearded Russians

BY
Palomar

PERFORMERS
Kevin Burrows, Bruce Barr, Tony Macaluso

PROJECTIONS
Bruce Barr

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Tony Macaluso studied Chinese and Journalism at Augustana College, and went off to live in the industrial Yang-Tze river city of Wuhan in China where he founded a bi-lingual theater company named Soup of the Day Theater. After returning to the United States, he studied Asian Theater and the history of Clowning at the University of Illinois. For several years he was an ensemble member of Utopia Train Theater. Since moving to Chicago last year, he has performed with Prop Theater, Trap Door Theater and, most avidly, Redmoon Theater (where he also writes grants).
 

YOUNGODDS AT THE INFINITY LODGE
by YounGodds (Arne Dobbelaer & Sara Dykmans)

Do you know why an owl on a branch keeps one eye closed and one open? With the closed one he reaches out for his inner depth, his strength, fear and wisdom. The seeing eye he uses to scan the woods in search of prey, analysing it's rythms and patterns of movement. The moment when these two activities meet he will dive like a spear absolutely sure of the outcome of his attack. An owl rarely misses ...

We use our body, face, psyche, gender, silence, hands and feet to explore the space between two blinking owl eyes.

We're fascinated in how this space can only be expierienced through action itself. In other words: 'where potential becomes kinetic'.

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YounGodds is the collaboration of Sara Dykmans and Arne Dobbelaer, both visiting Chicago from Belgium.

Sara Dykmans finished the Academie for Fine Arts, Antwerp, Belgium as a costume designer and scenographist. Her graduation project (where she first worked with Arne Dobbelaer) was a location-orientated piece where costumes, space, video, sound, and movement interacted and fused. Ever since then she has been combining and experimenting different aspects of theatre and visual arts. She uses them as means to explore and bring forth unconsious images, structures and stories.

Arne Dobbelaer graduated as an actor at the Kleine Academie, Brussels, Belgium in 1994. His love for the body as an instrument, woken up by his schooling, brought him to different workshops all over Europe. Refining this instrument, in order to evoke as clearly as possible 'that which comes from within' has been his main drive. A Butoh- and BMC-training (body-mind centering) has deepened and given weight to this process. Playing for teenagers, giving them both Commedia del'Arte and royal drama, has been the perfect laboratory to test this material in front of an audience.