To strengthen collective resistance, we must move beyond social atomization. In this public conversation, Meg Foley (Philadelphia) and Doran George (Los Angeles), reflect upon how they cultivate radical intimacy through in their art practices.
Moderated by Asher Hartman, this event is driven by the logic that communities of queer affection have historically critiqued or flouted entrenched forms of interpersonal exchange. Regardless of sexual preference or gender identity, queer embodiment thus offers valuable tools for fighting an authoritarian regime. For example, hetero-originating compulsory monogamy dictates tacit boundaries between ‘spouse,’ ‘partner,’ ‘family-member,’ ‘friend,’ and ‘colleague.’ We are supposed to know who we can touch and how, largely restricting ourselves to words within inherited socially sanctioned scripts for conversation. In place of communities of intimacy, we are focused on appropriate (read ineffective politically) subjects and actions (career advancement, material gain), and our intimacy is circumscribed robbing us of collective power. This social atomization is manifested in choreography that locks sexual, gender and relationship normativity in place. ‘Radical Intimacy’ invites you to ask what kind of dance might queerness make possible as a means to forge resistance.
is a Philadelphia-based performer, choreographer, and director of moving parts, the name she ascribes to her various dance- and performance-based actions that explore the materiality of dance and physical identity as form. moving parts focuses on making dances for which the meaning is revealed through and derived from the particular process of building them, with questions of embodied reality at its core. Her work has been presented locally by the Philadelphia FringeArts Festival, Bowerbird, Thirdbird, and Vox Populi Gallery, Movement Research, Abrons Arts Center, CATCH!, the Badass Dance Fun Festival, Toronto Summer Love-In, Summerworks Festival, Dancemakers Centre for Creation Flowchart Series, Tanz Fabrik (Germany), and at the Centre for Contemporary Art Ujazdowski Castle (Warsaw.)
Her research has been supported by the Pew Center for Arts and Heritage, the Independence Foundation, and through a 2013 Stary Browar Cultural Exchange Residency (Poland). She is creative co-director of The Whole Shebang, an interdisciplinary arts space and studio in South Philadelphia that hosts workshops and classes and provides studio rental to artists at affordable rates. She is the first dance artist member of Vox Populi Gallery in Philadelphia and was a founding member of Mascher Space Cooperative in 2005. She currently dances for Susan Rethorst. As an educator, she teaches at University of the Arts in Philadelphia, as well as for professionals locally and abroad.
movingpartsdance.org // thewholeshebangphilly.com // actionisprimary.com
was awarded a PhD in culture and performance from UCLA in 2014 and has been publicly funded for their choreography since 1999. Three forthcoming Oxford University Press anthologies include Doran’s research, and their scholarly and arts writing is featured in various theory and arts publications. They have guest edited Dance Theatre Journal, and Art-Insight, and are currently working on the first critical history of ‘Somatic’ contemporary dance training. In dance and performance, Doran explores socially abject dimensions of ‘self’ in ungainly, disturbing and provocative choreography; they have also used dance in work with people facing bereavement and terminal illness. Doran has also been funded to mentor choreographers through California’s Choreographers In Mentorship Exchange program and The Wellcome Trust in London, among others. Conservatory trained at the European Dance Development Center (NL), Doran completed an M.A. in Feminist Performance at Bristol University (U.K.) .
is an interdisciplinary artist, playwright and director whose work at the junction of visual art and theater centers on the exploration of the self in relation to Western histories and ideologies.
Recent works include “The Silver, the Black, the Wicked Dance,” LACMA (2016); “Mr. Akita” at the Tang Museum, New York (2015) and forthcoming at Hauser, Wirth & Schimmel (Los Angeles) and at the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA, 2017) as well as a new as yet untitled play at Machine Project, in 2017. Other recent works include “Purple Electric Play! (2014)” at Machine Project, Los Angeles; “Glass Bang” at the MAK Center for Art & Architecture’s RM Schindler’s Fitzpatrick-Leland House as part of Machine Project’s engagement in the Getty Museum’s “Pacific Standard Time Presents: Modern Architecture in L.A.” (2013) and with Cannonball in Miami as “The Florida Room” and Southern Exposure in San Francisco (2013); “See What Love The Father Has Given Us,” Machine Project, Los Angeles, (2012 );“The All Stars of Non-Violet Communication“ at Human Resources, LACE and Highways Performance Space (2011), Los Angeles, and “Annie Okay!” at The Hammer Museum (2010). Hartman is also one half of the intuitive duo Krystal Krunch (with Haruko Tanaka) whose performances and workshops have been presented in variety of venues including at The Pulitzer Art Museum (St. Louis); The Hayward Gallery (London), The Walker Art Center (Minneapolis), The Miller Gallery at Carnegie Mellon (Pittsburg); Real Art Ways (Hartford), Extrapool (Netherlands), and numerous workshops with Machine Project.
*Please note that this event takes place during Open Studio, a time to share the space