The title is a play on This Bridge Called My Back edited by Cherríe Moraga and Gloria E. Latin-American songs and the form of the telenovela are exploited to show how familiar structures contain absurdity that reveal and celebrate difference. A formal logic binds the group and propels them to create an ever-transforming world where they are at once autonomous and connected, complicating the idea of identity. In This Bridge Called My Ass, six Latinx performers map an elusive choreography of obsessive and perverse action within an unstable terrain of bodies, materials and sound. Variations on Themes from Lost and Found: Scenes from a Life and other works by John Bernd Ĭo-directed with Ishmael Houston-Jones, received a 2017 Bessie for Outstanding Revival. Age and Beauty (2014/15) Ī trilogy of queer pieces that address queer time, futurity, and mid-life anxieties about relevance, sustainability and artistic burnout. Premiering during the company's 50th anniversary season, this piece takes its inspiration (and title) from the May 1968 social and political movements in France. Gutierrez, in person, holding a discussion with himself on video: “What are you going to show us today?” “Whatever happens.” As the question is repeated, the response becomes more lascivious: “I really hope it’s going to look beautiful, that you’re going to try all the possible variations and positions.” Cela nous concerne tous (This concerns all of us) (2017) Ĭreated in the fall of 2017 for Ballet de Lorraine in Nancy, France. Brooklyn-based Gutierrez incorporates song, text, movement and video into his performance pieces. On the heels of one of the major works of his career and the worst breakup of his life, choreographer Miguel Gutierrez created myendlesslove (2006), a short, raw dance about grief. Performed at Henry Street Settlement in 2006 and then reconstructed in 2013 at Abron Arts Center, the work explores sex, desire and growing older in gay culture. It combines vigorous bouncing of one’s anatomical/spiritual/energetic molecules with the existential absurdity that is living in a world/country/economic system of injustice, war-mongering, and cultural ineptitude. It is over an hour of communal/political/conceptual/imaginational workout experience in public. Projects DEEP AEROBICS - Death Electric Emo Protest Aerobics Ī workout class in costumes playing on the themes of mortality, political protest, oppression, resistance and hope. He also currently performs a music project called SADONNA: sad versions of upbeat Madonna songs. He performs with Nick Hallett as Nudity in Dance. He has created music for several of his works, for Antonio Ramos’ work, and with Colin Self for Jen Rosenblit and Simone Aughterlony. He has been an artist in residence at MANCC, LMCC, Centre Choréographique National de Montpellier, Centre National du Danse Pantin, Baryshnikov Art Center, and Gibney Dance. He has received fellowships from New York Foundation for the Arts, the Tides Foundation, Guggenheim Foundation, United States Artists, an award from Foundation for Contemporary Art, the Doris Duke Performing Artist Award in 2016, a Franky Award from the Prelude Festival in 2016, and four Bessies. He has received support from Creative Capital, MAP, National Dance Project, National Performance Network, and Jerome Foundation. His work has been presented in venues such as the Centre National de Danse, Centre Pompidou, Festival Universitario, ImPulsTanz, Fringe Arts, Walker Art Center, TBA/PICA, MCA Chicago, Live Arts Bard, American Realness, and the 2014 Whitney Biennial. Since 2001, Gutierrez has been creating and performing solo and ensemble dance performances.
After moving to New York City in 1996, Guitierrez danced in John Jasperse's company for seven years.
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