Julie Tolentino invited four beloved Bay Area Artists for a monthly one-to-one and group experimental encounter. Special thanks to artists: Larry Arrington, Maurya Kerr, Xandra Ibarra, and Amara Tabor Smith; herbalist Jennye Patterson; sound artist, Patrick Murch, and writers, Debra Levine and Scot Nakagawa.
a.u.l.e. -an un-named lived experience
& being with another seems to go by very fast. so much information. so much to tend to think about and the how of time talking thru how we resist, breakaway then give away. sensing bringing forward slinking back. why and what? stutter gasp. wait. what i wanted to say (because some fumbly dimming) and what that is: to be interested in. drop narrative like how there can be a split in the because. so description does not have a together & becomes again. the title perspectives. thin lines might be imagining the experts - leaning, convening and reverie and skins and what’s missing and all those rising - break - to see the small axis as axes. rushing to get it right. hard corps proposition stained and streaming. herbal opaque judge and unrecognizable currents and cruelty with utopia’s little edges. the separate conversations radiate dark root bodies & instead an aural portal, a vibe. or two or three or four or five or seven of us with each other’s other/s. All together. All a part of this.
-Durational Practice in wa
Photo: Hillary Goidell
My practice is often unpractical. It claims to do, and be, so many things and it functions along thick and thin lines. It misses its mark and sometimes senses things before its time. It never is on time.
continued at link below..
Links to (4) video gifts offered to the participants
Video and editing collaboration with Kadet Kuhne. Sound: Kadet Kuhne. Project Assistant: Ryan Tacata
Hentyle Yapp; To Punk, Yield, and Flail: Julie Tolentino’s Etiolations and the Strong Performative Impulse. GLQ 1 January 2018; 24 (1): 113–138. doi: https://doi.org/10.1215/10642684-4254522
Franko, Mark. “Editor's Note: The Choreographic Identity in Question.” Dance Research Journal, vol. 43, no. 1, 2011, pp. v-vi. JSTOR, JSTOR, www.jstor.org/stable/23266822.
Lepecki, André. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal, vol. 42, no. 2, 2010, pp. 28–48. JSTOR, JSTOR, www.jstor.org/stable/23266897.
Cesare, T. Nikki, and Jenn Joy. “Performa/(Re)Performa.” TDR (1988-), vol. 50, no. 1, 2006, pp. 170–177. JSTOR, JSTOR, www.jstor.org/stable/4492666.
Elisavet Pakis (2014) Julie Tolentino’s Queer Mestiza: Unsettling a White Western Order of Subjectivity and Belonging, Contemporary Theatre Review, 24:1, 21-39, DOI: 10.1080/10486801.2013.858326
Nicely, Megan V. “Deer in the Headlights: The Sites and Sights of Noémie Lafrance's ‘Home.’” TDR (1988-), vol. 53, no. 4, 2009, pp. 163–170. JSTOR, JSTOR, www.jstor.org/stable/25599525.
Thomas, Kendall, and Catherine Gund-Saalfield. “Catherine Gund-Saalfield.” BOMB, no. 67, 1999, pp. 44–49. JSTOR, JSTOR, www.jstor.org/stable/40426089.
WHATLEY, SARAH. “Recovering and Reanimating 'Lost' Traces: The Digital Archiving of the Rehearsal Process in Siobhan Davies RePlay.” Dance Research: The Journal of the Society for Dance Research, vol. 31, no. 2, 2013, pp. 144–156. JSTOR, JSTOR, www.jstor.org/stable/43281332.