Studio H at Gibney Dance 280 Broadway
DoublePlus presents three weeks of shared evenings for which established artist-curators each choose a pair of emerging artists and mentor them through the creative, production and audience development processes.
From Curator Dean Moss:
“I’m interested in the edges of wellness. Where the structures of life/spirit movements meet flesh in idiosyncratic therapies and worship. Here healing is addressed through auras and gestures tasked with defending heart and mind. They countervail these bare transactional days. Cori Olinghouse’s practice of Clown Therapy and Wesley Chavis’s physicalized worship are indicative of that art inquiry. They seek to turn faith and science sensory: absorbing these truths (and us) into the vulnerability of their flesh.”
About the Artists
Wesley Chavis is an inter-disciplinary artist and vocalist. In 2014, he received a BA from Yale and recently graduated with an MFA from VCU this past May. His original home is Beaumont, Texas. There resides the ancestral root of the love he receives, nurtures, returns, and interrogates through artworks. He currently resides in New Orleans, LA where he is a participant in the Saint Roch Community Church Artist-in-Residence Program. Growing up in The South, he attended an all-black Baptist church where he witnessed the sensorial power and palpability of God, mediated through the exuberant touch, breath, poly-rhythms and ecstatic praise of communing bodies. Through movement, he both tests and desires mediation between the physically sensuous and the tangible immaterial. The faithful process of questioning the co-mingling between the corporeal and religious ephemeral tills the fertile ground on which Wesley blooms, withers, and resurrects in new seasons.
Cori Olinghouse is an interdisciplinary artist, archivist, and curator. Her work has been commissioned by Danspace Project, New York Live Arts, BRIC Arts Media, Lower Manhattan Cultural Council, Movement Research, and Brooklyn Museum of Art. Recently, she was the recipient of The Award (2015-2016), a participant in Lower Manhattan Cultural Council’s Extended Life Dance Development program (2016-2017), a co-curator for the Movement Research Fall Festival, vanishing points (2015), and a panelist in the Museum of Modern Art’s Storytelling in the Archives forum (2015), alongside Boris Charmatz and Marvin Taylor. Olinghouse danced for the Trisha Brown Dance Company (2002-2006), and has served as the archive director since 2009. Looking to breakdown the postmodern aesthetic her body had been trained within for over ten years, she has worked closely with artists from vernacular styles who use transformation and shape-shifting, including Bill Irwin, and legendary voguers Archie Burnett, Benny Ninja, and Javier Ninja. She received a B.A. from Bennington College in Dance, Writing, and Video (2001) and an M.A. from Wesleyan University in Performance Curation from the Institute for Curatorial Practice in Performance, for which she was recognized with an outstanding thesis award for her hybrid scholarship in archival and curatorial practices: Mapping the Unruly: Imagining a Methodology for the Archiving of Performance (2017).