Sense as Consenus: An Interview with Justin Cabrillos

February 1, 2012 · Print This Article

"Troupe" photo by John W. Sisson, Jr.

Many of these discussions about hybridity seem to center on the borders of identity: those places we feel something might end so that another substance, or self can begin. Language is essential in the communication of those boundaries; it enables a consensual agreement. The very act of naming, for instance, differentiates one body from another. I am curious about how language is embodied and how an artist invested in movement-as communication might explore that position. I thought I could interview performance artist, Justin Cabrillos. He is particularly focused on how the body and language relate: what seemed like an additional progression from my last discussion with Vanessa Place. Drawing on elements of dance, performance art, poetry, and sound art, explores an inefficient use of breath, the valleys of nonsense and physical exertion. Cabrillos was an IN>TIME Incubation Series artist-in-residence at the Chicago Cultural Center, and a 2011 LinkUP Artist at Links Hall. He recently collaborated with Every House Has a Door in a performance for artCENA in Rio De Janeiro. He is the recipient of a Greenhouse grant from the Chicago Dancemaker’s Forum.

Caroline Picard: I’m interested in how you integrate language and the body: there is something about this process that makes a lot of sense to me, in so far as both the body and language are mechanistic. In your performances, you seem to embody the two at once, calling attention to the ways in which the body gives life/animates language. At the same time, I feel like you also illustrate a kind of twitch or glitch in both, as they merge  — is there some way that you could talk about this?

Justin Cabrillos: That’s a nice way of putting it. The body does give life to language. I’m particularly interested in the twitch, tremor, trauma, and the body in crisis because it calls attention to those different kinds of bodies, which language can inhabit and can be transformed by. In my most recent piece, Troupe, I often worked with generating flow in movement and in text, which I would then disrupt, physically or vocally, with a twitch. Somehow that moment of twitch or of crisis speaks to one of many processes of giving life to the body and language. When I was making Troupe, I would often  develop movement and language separately and then superimpose them on one another. Other times, I would read about P. T. Barnum’s discussion and publicity of the different figures in his circus and I would use that to develop some of the choreography. There were moments where I sang selections of P.T. Barnum’s autobiography, but then my gestures would align with the singing and other times where I would create a gap between the image of me singing and the actual song. I might flail my arms, while I was whispering. Or, the rhythm of my gestures would be staccato, while the singing was legato. In general, this is a kind of strategy I use because I am interested in picking apart a very familiar experience and then offsetting it slightly, so that you can experience elements of the familiar and the unfamiliar simultaneously. I guess the strategy itself is mechanistic in that it is informed by digital processes. It’s kind of like watching a movie in which the soundtrack is slightly off. Though the body and language are related, I also think that they are different in many ways. Each has a different presence on stage and has different strategies for meaning making and unmaking. Dance can do things that language cannot do and vice versa. But, I’m interested in how the different things they can and cannot do bump up against one another to do something else.

"Faces, Varieties, Postures" photo by John W. Sisson, Jr.

"Faces, Varieties, Postures" photo by John W. Sisson, Jr.

CP: Where do you imagine the body ends and begins? Does that conception change depending on whether or not you are performing?
JC: For me the body doesn’t begin and end at the skin container, so to speak. It’s easier for me to think about bodies instead of the body. I got injured a few times this Fall, and I’ve been curious about these different bodies that these different injuries have produced. After the injuries, my body has never been the same, but that showed me even more that my body was never the same in the first place. I am interested in the way spit, feces, food, and lovers are all extensions of our bodies. The anthropologist Nadia Serematakis discusses this way that our bodies can extend beyond what we normally think of as the boundaries of ourselves. In much of the choreography and writing that I do, I often look to pulling from outside sources, music I’m listening to, books I’m reading, movement I observe in a museum—which I then alter in different ways. In Faces, Varieties, Postures, I performed several images from a Civil War Era etiquette book depicting men with their guns. I am not interested in where bodies end, but I am interested in how bodies begin and begin again. This concept doesn’t change much whether I am performing or not. I think there are multiple bodies, the performing body, the social body, the injured body, but I am invested in all of them when I think about a body because the perceived differences between them highlight their differences and commonalities. I don’t really believe that there is a neutral or blank body, whatever that would look like, and so I don’t believe in a body that ends. It just becomes something else.

CP:  What is the function of breath in your work?

JC: When I did On a Corner, this was a central concern. In the piece, I recite the alleged origins of the Corner Bakery, which are printed on their cup sleeves. I inhaled instead of exhaling the words, and allowed myself one breath between each line of text. I lost my breath and started going into spasms because of the task’s effect on my body. There I wanted to deal directly with the breath in relation to language. However, the piece became something else, as it was also a way of connecting with the audience. The sound and image of someone breathing can move someone else to breathe in a similar way, as in a Yoga class. The way we move our breath can lead us to move and breathe in different ways. This in turn can lead someone to feel different emotions that are associated with that pattern of breathing. In performance and in generating material, I play with different ways of using and misusing breath. I am drawn to different language and different vocalized sounds, like weeping or laughing in Troupe, that are somehow as basic as a breath. These sounds, among other effects, mirror a response to the audience and that somehow can construct empathy, coercion, and manipulation. At the end of Troupe, I lie on my side and laugh for several minutes with my mouth in a held smile. I have dealt with laughter in other pieces as well, but this time, I was curious about the laugh track in sitcoms. I slightly altered the usual “heh” sound to a laughed “i” sound. The repetition of it produced some laughter from audiences, while I struggled to hold myself up and push myself across the floor. Laughter was just one of many responses, but I welcome those other responses. I often use the voice and movement in ways that can create fields of responses that can conflict. I am fascinated when an audience member has an ambivalent response, and when audience members have very different responses from one another. An audience member might be laughing at something that is suffocating me, while other audience members might be well aware that I’m suffocating. I don’t see breath as having a singular function in my work, but I do think that it often establishes a sort of visceral connection with the audience that may help tap into some of the other issues I’m dealing with in a piece.

"Troupe." photo by John W. Sisson, Jr.

CP: Where does sense come from?
JC: I think sense is neither objective, nor completely subjective. It is akin to consensus, and is similarly grounded in particular disciplines, social groups, and individuals.  When making a performance, I think a lot about the contract that a performer establishes with the audience. I try to establish different buoys for an audience, so that we can move further into “nonsense” and perhaps create some consensus out of that. Ultimately, I wonder how something that is called “nonsense” or that is outside of  “common” sense or that is socially awkward somehow, speaks both to the consensus of a particular group of people and to the dissensus of others.



Retracing Steps Along The Great Forest Highway

July 27, 2011 · Print This Article

Recently I had the opportunity to interview Matthew Goulish on the Art21 blog. Much of that conversation centered around a performance by Every house has a door that took place this last June. I wanted to reenact some aspects of that performance through writing. Memory is like a muscle, in a way, and what follows is an exercise of memory. 

“The body (its matter) is eternal; the soul (the form of the body) is transitory” - Bela Bartók (1881-1945)

Every house has a door, "They're mending the great forest highway," 2011. Performance. Photo: John W. Sisson, Jr.

We met at the poolhouse in Holstein Park. It was a humid summer day—due to the heat we were asked to stay outside before the show. There was concern the room might get too hot from our cumulative body heat; the longer we could avoid its accumulation, the better. So we gathered around a bench, following incomplete conversational paths, subjects pursued to pass the time and, if necessary, abandon altogether should the doors open unexpectedly. In these preceding moments I realized, for the first time this year, that it was summer: a time for slow and amicable drifting.

Imagine you sit on this bench with us. You look at your watch; people have started to filter indoors. You follow them. You purchase a bottle of water from a vending machine and climb a set of stairs. I am just in front of you. The banister is wrapped with caution tape but you use it anyway. At the top of the stairs we enter a small, half-court gymnasium. Windows surround the upper third of the room. They are old fashioned, connected by a single metal bar; if you turned a specific rod, all the windows would open at the same time. Through the open windows, you hear the sound of children playing in the swimming pool outside. Sometimes you hear a car from the street. The room stills in anticipation of a beginning. You notice the sweat in your palms. It is very hot. Sun brightens the room and when you follow my gaze look through the windows, the sky is a Midwestern blue.

Every house has a door, "They're mending the great forest highway," 2011, Performance. Photo: John W. Sisson, Jr.

Hannah Geil-Neufeld approaches the microphone. The performance is beginning. It has begun. She begins to read from a rehearsal journal. Like the rest of the audience, we listen to her voice and thus enter the process that created the performance we have come to see. Her voice admits us back stage. She quotes Wallace Stevens. ”The poem must resist the intelligence almost successfully,” she says.

The rehearsal journal ushers an experience of intimacy. It welcomes the audience. It calms us with stable, descriptive footing. But of course this is a performance and we are in a theater watching people who have rehearsed the ensuing movement multiple times. This diary is also a practiced devise. It is a grounding point, coherent and personal and common. It opens the door providing a lens through which to see the rest.

Every house has a door, "They are mending the great forest highway," 2011. Performance. Photo: John W. Sisson, Jr.

Three men come to the stage. They wear coats and ties. Brian Torrey Scott is not among them. He has been struck from the rehearsal journal as well. Scott was one of the original dancers; he was in the preview of this same performance put on a year ago at the Cultural Center. He moved away, I heard, and Jeff Harms took his place beside Goulish and John Rich in this performance. Harms appears in the rehearsal journal as though he had been there from the beginning. His dance movements are the same–you remember for instance, the comic flop Scott enacted periodically. At the Cultural Center the arms out, face down semi-dive made people laugh. In the gymnasium we laugh at different moment.

In the gymnasium, these men enact a dance. The gestures comprise a vocabulary because they are specific and repeating and sometimes traded off. Each dancer opens and closes his body differently, as a kind of breath. A delicate syncopation, they execute repeated patterns of movement, weaving in and out of one another. Harm’s flops down and up. Goulish wraps his arms inward and twists. Rich rotates, turning back and forth on an ankle. While the movements themselves are coherent  and descriptive, it is impossible to translate their meaning into words. The letters of this language are limbs. The body almost resists the intelligence. Someone coughs at your shoulder. There are people sitting on gymnasium mats and I feel fortunate to have a chair. By watching the dancing men, you feel cooler. Because they must be very hot.

Charissa Tolentino sits in the center of the room with an economical table. She plays music from her computer, blending organic, forest sounds with varied samples. The samples weave in and out of one another. You catch a phrase from Iggy Pop and catch my eye. I drink some water. The bottle is perspiring also. The various beats of Tolentino’s music mix with the dancers’ claps and stomps, making the room’s noise greater than that of the children outside. And after a built-in rest (the men stand on the side lines breathing noticeably while Tolentino’s soundscape fills the center of the room), the dancers bring scores and music stands to the middle of the gymnasium. John Rich is the only one who keeps his coat on. He gathers with the others, resuming the focal point of the stage to read and perform the notes inscribed. Here we see the body as an instrument and movement becomes its muscular folk music.

The body is also a diary in which memories are embedded, bound by tissue and variously noticeable tensions. It can be inspired, unexpectedly. The tri-tone stirs the body even when it’s listeners resist (John Rich jumping up and down with a red plastic devil’s fork. His feet make stamping sounds when they land on the otherwise squealing wood).

The tri-tone, Bartok and Barry Goodman are all characters in this performance. They linger in the air, as spirited figments, swooping down to possess the dancers periodically. Bartok was a pioneer of ethno-musicology. He collected folk songs like the Grimms collected fairy tales, traveling through the countryside with an Edison phonograph. The ease of his travel was impeded by the fall of the Austro-Hungarian Empire but he continued to visit what became Romania, trapping voices in an historical box. Folk singers regularly used the tritone without any evil associations and Bartok used it in his own compositions, smuggling the diminished fifth symphony halls. His violins were retuned to play dissonant notes on open strings and his audience was curiously moved in ways they didn’t understand. Americans were similarly afraid of Jazz (it made the young people dance) but in 1938 the Goodman Band played at Carnegie Hall, what had otherwise been a site for classical performance. By drawing you into this gymnasium, I am trying to conjure the ghost of experience. Now we have these figments between us, as they were in the gymnasium.

Every house has a door, "They are mending the great forest highway," 2011. Performance. Photo: John W. Sisson, Jr.

And so we come to the final act. Goulish approaches the microphone and begins to read from the rehearsal diary again. He describes the movements of an opera. He returns to the idea of mothers while describing an after-rehearsal walk. We have left the center of the performance. In leaving the center, we approach the bounds of its circumference and crossing that line will mark the end. Goulish conjures a looming maternal presence–a presence that seems to have always been in the room, lurking in the shadows of each and every one of us, ill-defined until it was named. Mothers are the beginning of material experience. Her multiple facets standing like a grove of aspens with one single root system. This is the forest we have been walking through inside of this bare-bright gymnasium. The wooden floors, rife with patterns to measure court games, collecting sweat like a forest floor. The performance is a delapidated road and by its enactment it wants to mend itself.

But first, there will be a death scene. In the first month of summer, in the middle of a very warm day, you watch three dancers die while thinking of an opera you have never seen. Goulish describes the opera as I am here describing their performance. Their bodies jerk differently as they imagine themselves drowning in this dry heat and when they leave they exit out the gymnasium door. Goulish drowns last.

We cannot tell if it is really over, which is what happens with death. Material bodies are stupefied when they can no longer move themselves. The room begins to applaud. Performers come out from their backstage retreat to bow. The Director, Lin Hixson, is called out from where she has been watching in the audience with a smile. The room applauds with a bigger noise.

Back down the stairs you realize the banister you’d been using for support is only partially screwed into the wall. Thus the cautionary tape. In addition to the memory of the performance, you also remember (perhaps by accident) the faces of those sitting around you. The same faces you walk down stairs with. Strangers watching a partially silent music.

 




Two Danes, A Nude & A Hotdog Place

October 22, 2010 · Print This Article

danes-nude-hotdog

Guggenheim gets turned down on its plan to create the Hot Dog Stand Frank Lloyd Wright would have built
The Guggenheim Museum considered the hot dog vendors outside its NYC landmark designed by Wright to not be in keeping with the look and style of the venue and in that vein pitched an idea to the city to build their own. Reports say that they thought the benefits would be increased revenue and a elimination of the generic style brightly colored stands. The New York City Landmarks Preservation Commission turned down the plan unanimously though saying “It detracts from the landmark and causes it to compete with the main building,” Robert B. Tierney, chairman of the commission, said of the proposed kiosk. “All of our standard appropriateness tests are not met here.” Too bad since I would have loved to see what they would have done, someone needs to publish the spec drawings for that plan. Read more here

TED Prize this year goes to Street Photo-Grafitti Artist “JR the Photograffeur”
Part of me is just glad that the joke awarding of food pundit Jamie Oliver is past and Jr is actually interesting albeit I wish I knew more about his work prior to now. NPR’s blog “The Picture Show” does a good job of covering a broad array of his work so I won’t say more then check it out. Read more here

Stereotypical Art Show Award Goes To Sue Williams: ‘Al-Qaeda Is the CIA’
I read about her show in the New York Times (a article with not a single image?) and was both annoyed by the lack of photos but more so curious as to what this show looked like. After looking up the official 303 Gallery website I enjoyably went through every photo. Sadly not for ascetic reasons or conceptual ones but the show is a virtual cornucopia of the current trends, tropes & stereotypes of the gallery scene today all in one places. There is the mish-mash theme, publicly antagonizing titles,  the glory in “shitty drawing”, the mix of rich color highly elaborate wallpaper with monochromatic underplayed items, the go to masturbation references, war of the sexes & ironic elevation of the sensational and banal. I would have been able to win my Art World bingo game for the month but was just missing either deer illustration, skull illustration, taxidermy animal or human silhouette. Maybe next time. Read more here & See more here

NUDE in Chicago
Part of the Sculpture Objects & Functional Art (SOFA) exposition this year in Chicago (Nov 5th-7th) will be a exhibition of sculpture being built at booth 920 with help from the audience.  Chicago artist Dana Major Kanovitz will be building the sculpture out of paper that the audience will hand to her. This is part of the larger series on show at the Perimeter Gallery which is showing a group show of artist who are looking to take a new stab at the oldest of genres in art, The Nude. You can read the press release and see images here

Danes get upset over Lego Sex
Employees at the town hall of Roskilde near Copenhagen have taken offence at the work on show in the building, paintings of two men made of Lego figures having sex. According to Danish press reports, artist Svend Ahnstrøm’s piece, which shows ‘Kurt and Anders’ pleasuring themselves in a public park, has prompted three internal complaints. But no objections have been raised about Lego depictions of Adolf Hitler and Osama bin Laden. “It’s hard to believe that something like this can offend people in today’s Denmark,” said Ahnstrøm. Deep down I wonder if his real thought was “Three people? a lousy three people?
Seriously people are too lazy to protest….” cause look at the work and sing “One of these things is not like the others, One of these things just doesn’t belong” the artist even agrees since he places Kurt and Anders at the bottom of his page last on his site. See more here

Mall in Manchester, England creates replica of Pharaoh Tutankhamun’s Tomb & Treasure
Read more here

Dutch Venice Biennale 2010 – Dutch pavilion
The Dutch pavilion is very interesting this time round and “we make money not art” does a good job of covering it. Read more here