A Different Kind of Sushi

Beyond Theory at Sushi ©2008paulmbowers

Last weekend we celebrated the pre-opening of the visual art space at Sushi with a multi-media installation by a group of eight Serbians who were in residence in San Diego for about a week. I wasn’t sure what to expect with this one and I was happily surprised. Some of the art was really engaging and I understood what the hell they were trying to convey. Of course, some I did not. But that is to be expected. That’s what this blog’s about, right?

One of my favorite pieces was Death Anniversary by Vladimir Nikolic who was running a video of a women singing at the gravesite of Marcel Duchamp (incredibly, I found a clip of it). Here’s what Vladimir told me “I paid a Balkan woman to compose a song and sing at the grave of Marcel Duchamp….this is something we do all the time where I come from…but artists will take photos of these kinds of things and because it is exotic to Westerners, they say it is art.” He’s got something on his mind. “I call this false ready made, because it is not art, it is not contemporary.” See? He’s kinda pissed. It was good.

The images here show another section of the visual art space that had cloths printed with quotes about art. It was a maze. In a corner was another video with Vladimir sitting on the floor, tossing a ring onto a cone, while two British art critics discussed what was happening. These Serbians don’t have a very high opinion of the British art scene, or of much contemporary art. They’re a pretty intellectual bunch.

There was more, about the positioning of pictures, and how all the stories have already been told and nothing is original. Some of it went over my head, but all in all, the experience of being at Sushi, experiencing art in the space and seeing people who supported it all, was encouraging.

Here’s one of the quotes that was in the maze - Art is an adventure into an unknown world, which can be explored only by those willing to take the risks. (Adolph Gottlieb, Mark Rothko & Barnett Newman). I think that’s what we’re going to see at Sushi this season.

Beyond Theory at Sushi ©2008paulmbowers

I was upset when I realized I was going to miss the first pre-opening performance at Sushi. But it was my 10th wedding anniversary and we had plans to go out of town, and I love Sushi and all, but…well, I think you get my drift.

From all reports, the weekend was great. The audience was enthusiastic and the show went off without a hitch (at least none that the audience knew of). Since I couldn’t be there, I am linking to a post by Francis, the designer who has done so much wonderful new work for Sushi, who was. If you attended, please share your impressions. Would love to know what you thought.

Had the opportunity to speak with Jordan Fuchs today about his upcoming performance at Sushi, called Thicket. I just realized I didn’t ask him where the title came from, but as I think about his descriptions, it’s making sense to me.

This performance is set in the round and is the second evening length project he has done in this setting. Jordan said that in our lives, we perceive information from all directions at the same time, not just what’s right in front of us. He is interested in exploring this idea in performance - having all the channels open not just focusing straight ahead.

The dancers move among the audience and this has to do with his study of kinesthetic empathy. Now this starts getting kinda deep, but stay with me. He made it understandable. Jordan says “Our bodies empathetically respond when they are near other bodies. Our reactions are different if the artist is near you as opposed to far away on a proscenium stage.” He believes that we learn from being near other bodies in a way that we don’t when they are far away.

If you are feeling the bodies flying through the air right next to you, it makes sense that your experience of the show will be quite different than if they are yards and yards away from you on a stage.

Jordan wants to move contemporary dance away from just being a visual phenomenon. He wants to communicate the actual experience of moving through time and space. He calls it “near space relationships.”

One of the coolest aspects of the show is that each audience member wears their own headset. Music composer, Andy Russ, has different mics set up to record different sounds during the show. For example, the parabolic mic will pick up individual sounds like breathing or a grunt. The boom mic will share the larger collective sounds. Andy then samples the sounds the performers are making in real time and layers that with pre-recorded piano music.

Here’s where it gets even more interesting…he has also pre-recorded the dance movements in different environments and with different numbers of people. So you may be watching them jump in front of you, but hearing it as if it were on grass. Or you’re watching 4 people but only hear the footsteps of one. It’s a hyper real experience.

And what’s also very interesting is that the performers only hear the music. They don’t hear all the other stuff that the audience does. So the performer’s experience is entirely different from the audiences’. He is trying to challenge the notions of what a communal performance is about. He wants to create disorientation within a dance performance.
I call it parallel realities (I mean aren’t we each hearing a different voice and tune from one another all the time anyway?). This really highlights that experience, doesn’t it?

Oh and the name? Well, I envision all the bodies and the breathing representing a thicket of trees. But maybe I’m way off here and Jordan will set me straight.