![]() Here’s how to turn your relaxing day trip into an arts adventure. If you’re looking for guidance on arts events, even on your weekend outside L.A., I’ve got you covered. The crunching gets louder and louder as Powell shouts, “Once my family loved, really loved, really really loved to dance.” It’s a family affair where the mother follows her daughter’s lead and the son follows the father’s. Once Delgadillo finishes placing the cookies down, she eats one, tosses the fortune, and thrusts her pelvis forward over and over until Powell and Shiau join. At the same time, Powell and Shiau are at the center, following the same movements, as if the mother is teaching her daughter the way to move - the way to be a woman. And each crunch and crash resounds in the silence. Suddenly, a male lineage is crushing the family’s fortune and hopes on the stage. He’s followed by Obremski and Autry, the father and son. The audience was captivated as Delgadillo placed fortune cookies diagonally across the stage and Tribus slowly stepped over them, crushing them. We watch as this family, which is initially timid and average, slowly devolves into chaos. Obremski, meanwhile, hops and flounders across the stage. For example, Autry moves quickly from tableau to tableau, digging deep into each extension and stretch. The specificity of movement continues as each character assumes their own movement language. The beauty of his choreography is felt in the roll of the hip and the torso’s shake. The movement was supple and rich, which is characteristic of Naharin’s work. We are constantly reminded of their imminent death throughout the performance, and each foreshadowing is followed up with the phrase, “once my family loved, really loved, really really loved … to dance.” Throughout the piece, we are introduced to a family: a mother ( Jie-Hung Connie Shiau), a father ( Jesse Obremski), a grandfather ( Jake Tribus), two daughters ( Jordan Powell and Alicia Delgadillo) and a son ( Scott Autry). The second part of the program was taken up by Naharin’s 1996 work reimagined by the company in 2022. Finally, one leaves and the constant flow of movement ends. They step back and forth, switching positions. One performer steps forward and looks toward the audience while the other steps back and turns away from the audience. In the final moments, we see them walk parallel to each other. After watching a relationship grow onstage between the two performers, there is a mutual understanding of their dependence on each other. Ultimately, it was, bathing the stage in red and halting the performance for a second before they moved with the architecture. We all wondered if it was part of the show. And just when you thought the torturous tango was as volatile as it could get, a batten holding a pair of lights partially fell. Their energy ebbed and flowed as one would carry the other over the shoulder, and then vice versa. Pajarillaga and Thoman were practically in constant contact with each other, tumbling and turning over each other’s bodies. “A Measurable Existence” was 16 minutes of nonstop movement performed by artistic associates Kevin Pajarillaga and Jacob Thoman. The New York City-based company had its Los Angeles premiere at the Bovard Auditorium on campus with a program that consisted of Yue Yin’s “A Measurable Existence” and Ohad Naharin’s “ Yag 2022.” On Friday, I saw the Gibney Company perform at USC. The mapped list is a go-to for those of you who make plans based on the commute, and it also can be filtered by type of event and by price. weekend, all mapped outįor a more comprehensive roundup of exhibitions, concerts, screenings, festivals and other events, check out Matt Cooper’s Culture Guide. Tuesday through Saturday and details can be found on the gallery’s website. The show perfectly fits the new location - previously a commodities warehouse - allowing Jackson to create an immersive inaugural show for François Ghebaly’s new space. 4, a Saturday, with Jackson’s work that investigates invisible labor and mass consumption. artist Patrick Jackson titled “ Liquid Clay.” The gallery opens Feb. Now, François Ghebaly will be opening a new gallery location in the same area of Los Angeles with a show/intervention by L.A. 15 and Mey Gallery, which opened last week. New galleries have been opening in West Hollywood left and right, including Hauser & Wirth’s new location opening Feb.
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