Financial Times Europe - 31.07.2019

(Axel Boer) #1
6 ★ FINANCIAL TIMES Wednesday31 July 2019


Honji Wang
and Sara Mearns
in ‘No. 1’.
Above right:
Wendy Whelan
with cellist
Maya Beiser in
‘The Day’
Christopher Duggan;
Nils Schlebusch

past couple of years at City Center, the
Guggenheim, Lincoln Center and the
Joyce — by Liz Gerring, Honji Wang and
others. The centrepiece, however, is a
new duet by and with Jodi Melnick,
probably best known for her burning
presence in the works of Childs contem-
poraries Trisha Brown and Twyla
Tharp, as well as youngerluminaries.
“The piece,” Melnick says, “is about the
entire experience — all the hours, all the
Mearns says of Melnick: “What
she does with her ribs and her hips
and her gaze and her hair is so spec-
ific, so articulate. It looks like she’s mak-
ing it up in the moment, but it’s all
ballerinas, too, but also concerned to
maintain their artistic integrity in the
face of these goddesses of the dance
world. After all, integrity is what the
experimentalists have to offer. They
ForSara Mearns: Beyond Ballet, the
postmodernist Liz Gerring began with
a couple of her own dancers before
turning to Mearns. “Will my aesthetic
principles be effective with a ballet

vocabulary? I’m still figuring that out,”
she says. Honji Wang of the whimsical
French hip-hop troupe Wang Ramirez
turned the occasion — “two girls coming
After a car crash last winter left 12
screws in her foot, Melnick felt more
committed than ever to movement’s
explosive, exuberant possibilities and
wanted Mearns’ help in digging deeper.
“I think I’m going to call the pieceOpu-
lence, Part I,” she says. “These are just
riches to me — the physicality of cutting
through space and relating to another
body and articulating my foot and using
Mearns knew nothing about impro-
vising one’s way towardsinvention until
she met Melnick at a Danspace Project
uptown-downtown exchange in 2015.
“At City Ballet, the dancemaker comes
in and puts the dance onstage in a
few weeks,” she says. “It happens
fast because the company has to
produce something. It does create mas-
terpieces — I don’t think it’s a system
way that is successful — and inspiring. It
nick are now on their third project


hen in 2012 ballerina
Wendy Whelan first
commissioned new
work for herself to per-
form, her aim was both
modest and momentous. After 28 years
with New York City Ballet, she was 45,
recovering from a severe hip injury and
wanted “to prove to myself that I could
Mearns didn’t have a plan for her forays
into 20th-century modern dance; she
leapfrogged her way through the canon
because one thing led to another. “If I
hadn’t done the Isadora Duncan, I
wouldn’t have done the Merce Cunning-
I wouldn’t have done the Martha Gra-
ham. People would ask, ‘Why did you
Whatever the two dancers’ initial rea-
zones,at Jacob’s Pillow Dance Festival in
ture even further out than probably any
other illustrious ballerina gone rogue
before. And there have been many:
Sylvie Guillem, Diana Vishneva, Ales-
sandra Ferri, Maria Kochetkova and
Natalia Osipova have allsought out
choreographers from the capacious cat-
egory of “contemporary dance” to make
vehicles for them in their off-season or
But the choreographersWhelan and
Mearns have engaged do not make
“vehicles”; they make art. They don’t
have a “style”; they have an aesthetic
and a method. The star dancers, having
sical repertory,now find themselves in
the rigorous, uncompromising world of

Lucinda Childs, the maths geek of
postmodern dance who spent her salad
Dance Theater, is the choreographer of
The Day,created for Whelan. On the first
day of rehearsal with Whelan and
acclaimed cellist Maya Beiser, Childs
arrived with the whole David Lang score
counted out. “I need to know where the
music is at every point,” the choreogra-
Whelan says of Childs: “I’d always
been curious about her. I’d always
thought she was the most beautiful,
classy, intellectual artist, whom I didn’t
understand at all.”That first day proved
“alittle ntimidating”,shesays.i
Meanwhile,Sara Mearns: Beyond Ballet
collects several of the works that the 33-
year-old dancer has performed in the

Ballerinas stretch beyond their comfort zones

together and have become fast friends.
Melnick usually works alone for the
first exploratory weeks. “But Sara
wanted to be there. It was like having
someone watch you do your laundry,”
she says. “It was very much how I’ve
been with choreographers.” Mearns was
a quiet, constant presence who helped
Melnick “find what I want to find”. The
result is a duet “that is very much about
her and me” yet in that borderless
language they speak most fluently and
For Mearns, the rehearsals — or “ther-
apy sessions slash dance-making”, as
the “machine of City Ballet” while still
diving deep into dance. She is very clear
that her first commitment is to ballet.
But this shift in scale — from superhero
to human, Whelan says — lends the bal-
lerinas a needed perspective ontheir
This past season, Balanchine’s muse
Suzanne Farrell coached Mearns in
the grand “Diamonds” section ofJewels.
Farrell advised her not to go to the
audience but to let them come to
her. Mearns remembered Melnick tell-
ing her that it was enough that she lift
her arm — she didn’t need to glam it up.
As City Ballet’s new co-director, Whe-
lan recently coached the principals in
Concerto No. 2. “And I’m telling them to
dig in to the floor.” Even royalty needs


Ballet stars Wendy Whelan

and Sara Mearns have
gone rogue, seeking out

contemporary choreographers
and venturing into

experimental territory.
Apollinaire Scherr reports

Are video games art? Most gamers
today greet this question with a yawn.
They might respond: how many times
do institutions like MoMA, The
Smithsonian or the V&A have to
spotlight gaming before the medium is
taken seriously? They might point to
the aesthetic hybridity of game design;
combining visual art, sound, writing
and interactivity. They might patiently
defend video games as an art form, or
they might just not bother. For many
of us, games don’t have anything left
to prove.
The discussion about games as an art
form normally examines triple-A
games (big-budget mainstream games)
and the indie market. It looks at artists
within the gaming world. However, the
opposite also exist: gamers within the
art world. Like generations of artists
before them, they harness
technological innovation to articulate a
moment, usinggames to comment on
our digitally mediated lives.
In 2002 digital artist Cory Arcangel
madeSuper Mario Clouds, a hack of
Nintendo classicSuper Mario Bros
where every graphical element has
been removed except for the clouds,
which scroll across a blue sky, evoking
an enigmatic nostalgia. More recently
art gameEnnuigi ast Mario’s plumberc
brother, Luigi, in a meaningless
landscape of blocks and green pipes,
where players can walk slowly and
draw long puffs on a cigarette. Press
the “ruminate” button and Luigi makes
existentialist remarks about the game-
world, such as: “I look at this turtle and
think — I have done you one better.
You wear a shell, I have become one.”
It’s not always satire. Art games
generally prioritise provocation over
play, detaching gamers from familiar
objectives like levelling up. Many are
technically “mods”, made with design
tools certain games provide for anyone

to create their own in-game
environments. A notable early example
was elvet StrikeV , a mod of popular
shooterCounter-Strike ade in them
wake of 9/11, where players sprayed
antiwar graffiti on walls instead of
shooting each other, interrogating the
thoughtless violenceof so many games.
Chinese artist Feng Mengbo has
engaged with gaming throughout his
career.Taking Mount Doom By Strategy
interpolates scenes from one of the
Mao-era’s few permitted operas into
the classic shooterDoom. His grand
workLong Marchbegan as acrylic
pieces fusing retro gaming aesthetics
with personal memories of the Cultural
Revolution and culminated with a
playable game on an 80-foot-long
screen in MoMA. There the player
battles through Mao’s much-
mythologised “long march” as a Red
Army soldier, encountering wry
critiques of communist China’s
propaganda campaign.
Lawrence Lek also uses virtual
environments to explore political
questions. His workUnreal Estate (The
Royal Academy Is Yours)puts the player
in a world where the venerable London
institution has been sold off to become
the playboy mansion of a Chinese
billionaire, replete with sports cars and
a Jeff Koons bunny in the courtyard. It
debuted, fittingly enough, at the real
Royal Academy of Arts in 2015.

Video games offer a pliable medium
for creation at the crossroads of digital
and experiential art. They are well
positioned to interrogate questions of
aesthetics, narrative, virtual space,
agency and human behaviour. Artists
are only beginning to explore this
potential, ranging from Jenny Jiao
Hsia’sConsume Me, a thoughtful
exploration of eating disorders, to Cao
Fei’s art platformRMB City, created in
the virtual world of Second Life. David
O’Reilly’sEverythingis particularly
accomplished, underlining the
essential harmony of the universe by
allowing you to fluidly control
anything, from microorganisms and
plants to animals and planets.
When does a game become art that
belongs in a gallery? Perhaps when it
asks questions about what it means to
be alive in the world today. Few do this
as concisely asPassageby Jason Rohrer,
maverick artist and the first game
developer to have had a solo museum
retrospective. In this five-minute game
you experience a pixelated character’s
lifetime. As you move along the narrow
tunnel from the left of the screen to the
right, you age. You find a wife.
Gradually, there is more ground behind
you than there is in front. Near the far
right of the screen, your wife dies. You
know you will, too, but you don’t stop
or turn around. You keep walking until
the end.

When does a video game become art?




Lawrence Lek’s ‘Unreal Estate (The Royal Academy Is Yours)’— Sadie Coles HQ, London

JULY 31 2019 Section:Features Time: 30/7/2019- 18:28 User:david.cheal Page Name:ARTS LON, Part,Page,Edition:USA, 6, 1






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