 photo by Ian Douglas Saturday, January 20 at 2pm Part of: “What is Distance” Festival, curated by Emily Reilly. Featuring a dance / lec-dem by Catherine Galasso, a performance lecture by Research Service, and keynote by Fred Wilson Bard Graduate Center 38 West 86th Street, NYC Tickets and more information here In December 2015, Catherine Galasso presented an evening of early works by choreographer Andy de Groat, engaging with a living history of the artist that was both personal and part of a lineage of downtown performance. The evening culminated with a new work created by Galasso titled notes on de groat, a poetic meditation on the ways in which her own process, as a choreographer and visual artist, intersects and deviates from de Groat’s aesthetic, which she has been steeped in since a young age through her father, composer Michael Galasso, de Groat’s longtime collaborator. In a rare remount for the Bard Graduate Center seminar room, notes on de groat locates personal and historical distance though the ways in which these dialogues live and breathe across time, legacy, and artistic tradition. The piece was originally commissioned by Danspace Project, and will be performed by Doug LeCours, Kristopher K.Q. Pourzal, and Meg Weeks.
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 photo by Jacob Burckhardt, from "notes on de groat" at Danspace, December 2015 "The experience was like following a string back through time and finding some sort of treasure. What she found wasn’t flashy or transgressive, but an enchanted meeting of movement and music"  Meg Weeks and Chris DeVita, photo by Julieta Cervantes for The New York Times an illuminating, heartfelt program of old and new work [...] time seemed to loop back on itself throughout the evening THE NEW YORK TIMES -- Siobhan Burke “get dancing,” revealing the richness and spirituality of “minimalist” dance of the 70s to a younger generation. Plus, it was heavenly to hear Michael Galasso’s music again. Wendy Perron's BEST OF 2015 – tall, short, young old – moved as one with a riveting grace, and knowing smiles. EYE ON DANCE -- Nicole Duffy Robertson I left the theater at once exhilarated to have seen these marvelous works but also saddened to think what their fate might have been without the efforts of Galasso to restore them to their rightful place onstage. THE DANCE ENTHUSIAST -- Nicole Dekle Collins “get dancing” revealed the poetic drama of time, and the personal drama of facing the impermanence of your art form. THE DANCE ENTHUSIAST -- Sarah Chien all photos by Yoni Brook (from the dress rehearsal) Fall of the Rebel Angels: X House 19A, Governors Island, NYC part of LMCC's River To River Festival June 2015 with: Meghan Frederick, Keith McDermott, Kristopher Pourzal, Saori Tsukada and Mei Yamanaka costumes by: Karen Boyer thank you Yoni!!!  Review: ‘The Floatones,’ Making Song and Sense of Life and Nonsense
By ALEXIS SOLOSKI MAY 5, 2015 "Very nearly unclassifiable and utterly delightful, “The Floatones,” Jim Neu’s fantastical, irrational Zen koan of a musical, returns to La MaMa about 20 years after its premiere there. Four characters, named for the actors who portray them, stand on a bare stage chanting mottos and jingles and riddles that make no sense except when they do." Read
 Andy De Groat — Creative Simplicity within Visual Splendor Pieces by Andy de Groat Reconstructed by Catherine Galasso
Fridays at Noon at the 92nd Street Y Friday February 6 2015 at 12 Noon tickets: $10 BUY TICKETS Featuring live renditions of: * Rope Dance Translations (1974) * Fan Dance (1978) * swan lac (1982) * stabat (1990) * Hiroshima (2004) Performed by: Rachel I. Berman, Christine Bonansea, Ritty Burchfield, Patrick Gallagher, John Gutierrez, Makram Hamdan, John Hoobyar, Anne Lewis, Kathy Ray, Sarah Sandoval, Austin Selden, Emily Smith, Satya Stainton, Julia Vickers, Connor Voss, Buck Wanner, and Emily Wassyng. We need your help to sustain this project! I've known about Andy all my life; he and my parents met when they were all on tour with Robert Wilson's company, the Byrd Hoffman School of Byrds in the 1970s. Afterwards, Andy and my father, composer Michael Galasso ("In The Mood For Love"), continued to collaborate, my father composing original scores for multiple pieces of Andy's, both in New York and in France. I initiated this project because I wanted to see these dances that my father and Andy collaborated on together, most of them created before I was born. There is video documentation of the more recent works, but not of the older ones. Remaking them is about me being able to see them live, but also about giving them new life and allowing others to see them as well. This is archiving through re-performance. It’s my way of passing it on to a younger generation, in an effort to keep this dance history alive. Andy de Groat was born in 1947 in the United States into a family of Dutch, Italian, French, German and English origins. Whilst studying at the New York School of Fine Art in 1967, he met the director Robert Wilson. He joined his troupe as a dancer, then as a choreographer for all the productions from Deafman Glance in 1971, A Letter for Queen Victoria in 1974 to Einstein on the Beach in 1976, created for the Avignon Festival. In 1981, he received a grant from the Guggenheim Foundation in New York for his choreographic research. He created new works in succession for red notes/cie andy de groat, including several for Jean Guizerix, Wilfride Piollet, Jean-Christophe Paré, the Choreographic Research Group of the Opera of Paris (GRCOP), the Scala in Milan, Ris et Danceries, the Ballet du Nord (Roubaix) and Wah Loo Tin Tin Co, a Montauban-based company of young performers. Today, his work totals over sixty creations that have been presented in around twenty countries and periodically goes back to questioning the repertoire and the heritage of dance. His company has worked regularly on lyrical productions since 1988, in particular on The Magic Flute (Mozart), with Robert Wilson at the Opera Bastille, Paris, The Rake’s Progress (Stravinsky), with Alfredo Arias for the Aix-en-Provence Festival of Lyric Art and at the Operas of Lyon, Gênes and Montpellier, Aida (Verdi) and Klaus Michael Grüber at the Amsterdam Opera. Back for my second residency at Robert Wilson's Watermill Center. This time reconstructing pieces by choreographer Andy de Groat for performances in NYC.
 Post presentation audience discussion. Photo by Caterina Verde  Sundays on Broadway
an ongoing series created by Cathy Weis Projects Weis Acres, 537 Broadway #3 FREE November 23, 2014 at 8pm Curated by Catherine Galasso featuring work by Andy de Groat and Jim Neu A cross-generational gathering and performance event that celebrates NY performance history and the contemporary question of archiving through the re-creation of works by seminal downtown artists Andy de Groat and Jim Neu. The evening includes readings of two short scenes written Neu, a live re-performance of de Groat's Rope Dance Translations from 1974, followed by a structured improvisation between young dancers and former Andy de Groat collaborators. Jim Neu scenes performed by Jess Barbagallo, Joshua William Gelb and Keith McDermott. Andy de Groat's Rope Dance Translations performed by Rachel Berman, Christine Bonansea, Patrick Gallagher and Buck Wanner. Discussion and improvisation by former Andy de Groat collaborators (special guests to be announced.) About Sundays on Broadway: In May 2014, Cathy Weis Projects launched Sundays on Broadway, a new, ongoing series featuring performances, discos, film screenings, dinner parties and all manner of affairs on Sunday evenings. All events begin at 8pm and are free and open to the public. The series is held at WeisAcres in SoHo, New York, at 537 Broadway #3 (between Prince and Spring Streets). Photos above by Lois Greenfield and Donna Ann McAdams |
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