c o r p i l i q u i d i 

current production:

 ' s p e c i e s '

a collaboration by kira kirsch & kelly keenan

review by Dfdanse Le magazine de la danse actuelle à Montréal

photo: aleksey bochovsky photo: kira kirsch

photo: lyra potash

ARTISTS

concept, performance & stage design:

kira kirsch & kelly keenan

live music:

'SAINCT LAURENS'

Philippe Lauzier alto saxophone and bass clarinet

Pierre-Yves Martel prepared viola da gamba, 2" speaker

outside eyes:

keith hennessey

frey faust

PROCESS

1st Residency

2 weeks at Nomadic College in Czech Republic

--> 2 showings

2nd Residency

10 days Resident Artist Workshop at THE GARAGE in SF 

--> 2 performances - s p e c i e s  episode I

3rd Residency

Studio 303, Montreal Canada

--> 2 performances - s p e c i e s  episode II

INSPIRATION

The inspiration for ‘s p e c i e s’  has been abstracted from several sources amongst which include architecture and form, construction and deconstruction, the body, the spine and transformation to the creaturesque.  Inspiration was also taken from an article written by feminist and art theorist Elizabeth Grosz “Art as an Animal”.

CONCEPT:  ‘s p e c i e s’
The spine and bodies are common evolutionary attributes among species. “s p e c i e s” uses the spine and skeleton as architectural and geometrical forms as beginning and end to mutation of the body mass through articulation, precision and undulation into the creaturesque. Through the duration of time the body constructs, de-constructs and re-constructs into new forms, impressions and sensations. Slowness, duration, patience, articulacy and precision intensifies sensation, lending time and demanding of the perceiving/audience to witness transformation into new and unrecognizable forms. Throughout the duration of s p e c i e s the observer is propositioned to transform their experience and understanding of the human body (spine, joints, extremities, mass etc.) as the exposed bodies arrange themselves into perplexing displays of form and function. Logic to these seemingly illogical forms is demonstrated through articulate transitioning of the body.