{"id":569,"date":"2008-10-04T16:50:34","date_gmt":"2008-10-04T23:50:34","guid":{"rendered":"http:\/\/www.artsjournal.com\/foot\/wp\/2008\/10\/dance_fashion\/"},"modified":"2008-10-04T16:50:34","modified_gmt":"2008-10-04T23:50:34","slug":"dance_fashion","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/foot\/2008\/10\/dance_fashion.html","title":{"rendered":"Dance fashion"},"content":{"rendered":"<p><meta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"><meta name=\"ProgId\" content=\"Word.Document\"><meta name=\"Generator\" content=\"Microsoft Word 11\"><meta name=\"Originator\" content=\"Microsoft Word 11\"><link rel=\"File-List\" href=\"file:\/\/\/C:%5CUsers%5CUser%5CAppData%5CLocal%5CTemp%5Cmsohtml1%5C01%5Cclip_filelist.xml\"><!--[if gte mso 9]><xml>\n<w:WordDocument>\n<w:View>Normal<\/w:View>\n<w:Zoom>0<\/w:Zoom>\n<w:PunctuationKerning\/>\n<w:ValidateAgainstSchemas\/>\n<w:SaveIfXMLInvalid>false<\/w:SaveIfXMLInvalid>\n<w:IgnoreMixedContent>false<\/w:IgnoreMixedContent>\n<w:AlwaysShowPlaceholderText>false<\/w:AlwaysShowPlaceholderText>\n<w:Compatibility>\n<w:BreakWrappedTables\/>\n<w:SnapToGridInCell\/>\n<w:WrapTextWithPunct\/>\n<w:UseAsianBreakRules\/>\n<w:DontGrowAutofit\/>\n<\/w:Compatibility>\n<w:BrowserLevel>MicrosoftInternetExplorer4<\/w:BrowserLevel>\n<\/w:WordDocument>\n<\/xml><![endif]--><!--[if gte mso 9]><xml>\n<w:LatentStyles DefLockedState=\"false\" LatentStyleCount=\"156\">\n<\/w:LatentStyles>\n<\/xml><![endif]--><\/p>\n<style>\n<!--\n\/* Font Definitions *\/\n@font-face\n{font-family:Georgia;\npanose-1:2 4 5 2 5 4 5 2 3 3;\nmso-font-charset:0;\nmso-generic-font-family:roman;\nmso-font-pitch:variable;\nmso-font-signature:647 0 0 0 159 0;}\n\/* Style Definitions *\/\np.MsoNormal, li.MsoNormal, div.MsoNormal\n{mso-style-parent:\"\";\nmargin:0in;\nmargin-bottom:.0001pt;\nmso-pagination:widow-orphan;\nfont-size:12.0pt;\nfont-family:\"Times New Roman\";\nmso-fareast-font-family:\"Times New Roman\";}\na:link, span.MsoHyperlink\n{color:blue;\ntext-decoration:underline;\ntext-underline:single;}\na:visited, span.MsoHyperlinkFollowed\n{color:purple;\ntext-decoration:underline;\ntext-underline:single;}\n@page Section1\n{size:8.5in 11.0in;\nmargin:1.0in 1.25in 1.0in 1.25in;\nmso-header-margin:.5in;\nmso-footer-margin:.5in;\nmso-paper-source:0;}\ndiv.Section1\n{page:Section1;}\n-->\n<\/style>\n<p><!--[if gte mso 10]>\n\n\n<style>\n\/* Style Definitions *\/\ntable.MsoNormalTable\n{mso-style-name:\"Table Normal\";\nmso-tstyle-rowband-size:0;\nmso-tstyle-colband-size:0;\nmso-style-noshow:yes;\nmso-style-parent:\"\";\nmso-padding-alt:0in 5.4pt 0in 5.4pt;\nmso-para-margin:0in;\nmso-para-margin-bottom:.0001pt;\nmso-pagination:widow-orphan;\nfont-size:10.0pt;\nfont-family:\"Times New Roman\";\nmso-ansi-language:#0400;\nmso-fareast-language:#0400;\nmso-bidi-language:#0400;}\n<\/style>\n\n\n<![endif]--><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">I don&#8217;t<br \/>\nhave a whole lot to say about Christian Rizzo, though I would like to, because<br \/>\nhis solo outing last weekend at CPR (<a href=\"http:\/\/www.cprnyc.org\/\">Center for Performance Research<\/a>)<br \/>\nw<\/font><font style=\"font-size: 0.8em;\">as p<\/font><font style=\"font-size: 0.8em;\">art of the French Institute Alliance Francaise&#8217;s enterprising new<br \/>\nfestival <a href=\"http:\/\/www.fiaf.org\/events\/fall2008\/2008-09-crossing-the-line.shtml\">Crossing the Line<\/a>,<br \/>\nwhich we are lucky to have<font style=\"font-size: 0.8em;\">.<\/font><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><font style=\"font-size: 0.8em;\"><span style=\"\"><\/span><\/font><\/font><o:p><\/o:p><font style=\"font-size: 0.8em;\">The<br \/>\nFrench festival is a mini-version of the short-lived <a href=\"http:\/\/www.newsday.com\/entertainment\/arts\/ny-ffcul4890344sep17,0,5024712,full.story\">European Dream Festival<\/a>,<br \/>\nwhich for one month two years ago spread out over 22 venues and encompassed all<br \/>\nof the arts in their most cutting edge aspects. No less than the European<br \/>\nUnion&#8211;plus a bevy of European embassies&#8211;sponsored the Dream, and even so, it<br \/>\nonly lasted a season; now in its second year, Crossing the Line has Goldman<br \/>\nSachs, among other monstrous imploding corporate entities, as its sponsor, so<br \/>\nwe&#8217;ll see how long <i style=\"\">it <\/i>lasts<font style=\"font-size: 0.8em;\">.<\/font><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><font style=\"font-size: 0.8em;\">For the<br \/>\nDream extravaganza, we were treated to our second look at Boris Charmatz, a brilliant<br \/>\nyoung French choreographer. For Crossing the Line, it&#8217;s Rizzo, whom I hadn&#8217;t heard<br \/>\nof until I heard that it was about time we New Yorkers got to see him<font style=\"font-size: 0.8em;\">. <\/font><\/font><font style=\"font-size: 0.8em;\"><o:p><\/o:p><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p>&nbsp;<\/o:p><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">According<br \/>\nto Movement Research Journal,<\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<blockquote>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><font style=\"font-size: 0.8em;\">There are<br \/>\nmany who have wondered what has taken New York so long. After NYC has seen<br \/>\nJerome Bel, Xavier Le Roy, Alain Buffard, Boris Charmatz &#8230;it seems an obvious omission<br \/>\nnot to have had one of the important members of this French generation of<br \/>\ndancemakers&#8211;a huge influence on international dance in the mid-&#8217;90s.<\/font><\/span><\/font><\/p>\n<\/blockquote>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">&nbsp;<\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><span style=\"\"><\/span><o:p><\/o:p><font style=\"font-size: 0.8em;\">Wow: <i style=\"\">huge<\/i> <i style=\"\">influence<\/i>, <i style=\"\">important<\/i>, <i style=\"\">French<\/i>.<\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><font style=\"font-size: 0.8em;\">In Time<br \/>\nOut,<br \/>\ndance editor and writer Gia Kourlas less histrionically <a href=\"http:\/\/www.timeout.com\/newyork\/articles\/dance\/61871\/top-chef\">seconds the emotion<\/a> (and offers Rizzo&#8217;s<br \/>\nown words on what he thinks he&#8217;s doing).<\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><font style=\"font-size: 0.8em;\">So maybe he<br \/>\nseemed old hat (and not a very interesting hat, at that) by the time he arrived<br \/>\nStateside because New York dancemakers who take part in the experimental<br \/>\ncircuit that runs from Berlin to&#8211;where? Utrecht?&#8211; had already absorbed him<i style=\"\">.<\/i><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><span style=\"\"><\/span><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">The<br \/>\n40-minute solo at CPR takes its name from the dancer for whom Rizzo made it,<br \/>\nthe statuesque I-Fang Lin, a Taiwanese \u00e9migr\u00e9 of France. With the floor<br \/>\nstripped to its cement base, the white walls bare, and a set consisting of movable<br \/>\nequipment&#8211;mic stand, speakers, troughs of fluorescent lights laid out like<br \/>\nfootlights, a suitcase on rollers&#8211;the stage gave off a sanitized warehouse air.<br \/>\nThe performance was likewise spare. <\/font><o:p><\/o:p><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p>&nbsp;<\/o:p><\/span><\/font><\/p>\n<p><span class=\"mt-enclosure mt-enclosure-image\" style=\"display: inline;\"><img loading=\"lazy\" decoding=\"async\" alt=\"rizzo.jpg\" src=\"http:\/\/www.artsjournal.com\/foot\/rizzo.jpg\" class=\"mt-image-center\" style=\"margin: 0pt auto 20px; text-align: center; display: block;\" width=\"219\" height=\"350\" \/><\/span><\/p>\n<p class=\"MsoNormal\" align=\"center\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p>&nbsp;<\/o:p><\/span><\/font><font style=\"font-size: 0.512em;\">A different set than at CPR, but you get the idea<\/font><\/p>\n<p class=\"MsoNormal\" align=\"center\"><font style=\"font-size: 0.512em;\"><br \/><\/font><\/p>\n<p class=\"MsoNormal\" align=\"center\"><font style=\"font-size: 0.512em;\"><br \/><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">Lin faced<br \/>\naway from us at oblique angles and spoke huskily into a mic in Mandarin. She dipped into low, wide pli\u00e9s while settling her arms and<br \/>\nmouth into an Expressionist mold. She lay on the cement, limbs carefully<br \/>\narrayed. She changed her clothes&#8211;to begin, an &#8217;80s navy pantsuit (remember those<br \/>\npower blazers women would wear straight over their bras? Like that), accessorized with Allen<br \/>\nGinsburg intellectuo glasses a la 1959 and espresso heels; to <\/font><font style=\"font-size: 0.8em;\">end, an elegant beach<br \/>\ndress with matching visor.<\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">And she<br \/>\nmoved the props around.<span style=\"\"> <br \/><\/span><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><span style=\"\"><\/span><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">A lot.<\/font><o:p><\/o:p><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">She unplugged<br \/>\nthe lights to plug them in somewhere else, placed the speakers just so, then<br \/>\njust so again. The performance began with a good five minutes of such fussing, which<br \/>\nrecurred during what a less sophisticated artist might call transitional moments<\/font>.<o:p><\/o:p><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">Which may<br \/>\nhave been the point&#8211;Rizzo leveling the distinction between the show and the<br \/>\ninterstitial operations that usually count as the not-show. Rizzo driving the<br \/>\nfourth wall to the wall.<\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><font style=\"font-size: 0.8em;\">A lot of choreographers<br \/>\n(Jonah Bokaer, Luciana Achugar, Beth Gill) have had dancers double as stagehands, turning the schlepping of equipment into part of the dance. It works when the aim isn&#8217;t simply to demonstrate how clever you are. (&#8220;Look, Ma, the de-suspension of disbelief!&#8221;)<i style=\"\"> <\/i><span style=\"\"><\/span>When<br \/>\n<a href=\"http:\/\/lachugar.org\/\">Achugar<\/a> whacked down<br \/>\nthe fourth wall in her Bessie award-winning &#8220;Exhausting Love&#8221; (2006), the<br \/>\neffect was to illuminate the rituals of boredom by which we live. (Check out<br \/>\n&#8220;Exhausting Love&#8217;s&#8221; <a href=\"http:\/\/www.dancetheaterworkshop.org\/achugar\">sequel, at Dance<br \/>\nTheater Workshop in a couple of weeks<\/a>.) But Rizzo&#8217;s &#8220;I-Fang Lin&#8221; never leaves the building.<\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"> <\/font><o:p><\/o:p><font style=\"font-size: 0.8em;\">True,<br \/>\nfiddling with equipment does really happen. When I&#8217;m copyediting, for example, I&#8217;m constantly<br \/>\nadjusting the height of my chair. But the difference between me with my<br \/>\nwretched chair and &#8220;I-Fang Lin&#8221; is the difference between me and, say, the guy doing<br \/>\nthe floor design at Banana Republic. He&#8217;s got something very definite in mind,<br \/>\nand he&#8217;s going to achieve it; my chair will always be too high or too low,<br \/>\nbecause I shouldn&#8217;t be sitting in it, doing this work.<\/font><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"> <br \/><\/font><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">I ended<br \/>\nup wishing Lin would just pile the extension cords and the speakers and the fluorescent<br \/>\ntubing and the suitcase and the changes of clothes in a heap and get on with it,<br \/>\nwhatever <i style=\"\">it<\/i> might turn out to be<\/font>. <o:p><\/o:p><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p>&nbsp;<\/o:p><\/span><\/font><\/p>\n<p><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><br \/><\/o:p><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p>&nbsp;<\/o:p><\/span><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">Crossing the Line closes tonight<br \/>\nwith a <a href=\"http:\/\/www.ps122.org\/performances\/diptyque.html\">double dance concert of Rachid Ouramdane and Pascal Rambert at PS 122<\/a><br \/>\nin the East Village. Here are <a href=\"http:\/\/www.artsjournal.com\/foot\/2008\/05\/far_and_other_war_dances_this.html\">my thoughts on Ouramdane&#8217;s piece <\/a>(scroll down a bit) at DTW this past spring<\/font>.<\/span><\/i><\/font><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><br \/><\/span><\/i><\/font><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"> <\/span><\/i><\/font><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><font style=\"font-size: 0.8em;\">Not to mire you in too many<br \/>\nchoices, but tonight&#8217;s also the last night to catch Ann Liv Young&#8217;s &#8220;The<br \/>\nBagwell in Me&#8221; at <a href=\"http:\/\/www.thekitchen.org\/\">The Kitchen<\/a>, in Chelsea. I&#8217;ll<br \/>\nwrite more about it later, but this karaoke theater piece is moment-defining,<br \/>\nwith its careless, easy transgressions of things one feels weird about being<br \/>\neasily transgressed. Young deploys a brilliant strategy for getting us around<br \/>\nand over the blas\u00e9 state of mind that an overtitillated culture offers as the only exit.<br \/>\nAnd with a persona that&#8217;s dumb, beautiful, bossy, and utterly lacking in<br \/>\nself-consciousness, she&#8217;s the perfect performer to be doing her theater. Here&#8217;s<br \/>\nGia Kourlas&#8217;s <a href=\"http:\/\/www.nytimes.com\/2008\/09\/28\/arts\/dance\/28kour.html?pagewanted=all\">Times profile<\/a>, from last Sunday. <br \/><\/font><\/span><\/i><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><b><br \/><\/b><\/font><\/span><\/i><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><b>UPDATE: <\/b>Here&#8217;s Claudia La Rocco&#8217;s <a href=\"http:\/\/www.nytimes.com\/2008\/10\/04\/arts\/dance\/04roun.html?ref=dance\">review<\/a> (it seems she didn&#8217;t like it!), and here&#8217;s <a href=\"http:\/\/countercritic.com\/2008\/10\/04\/the-cunt-in-me\/#more-1433\">counter critic <\/a>(who didn&#8217;t like it, either!) and here&#8217;s <a href=\"http:\/\/culturebot.org\/2008\/10\/04\/bill-t-jones-and-other-dance-y-discontents\/\">Andy Horwitz of Culture.bot <\/a>blowing it and every bit of pretentious anti-dance dance he&#8217;s ever seen to bits. (Go, Andy!&#8211;though I will say, it&#8217;s not fair to judge the work by what the artist says about it, or what she says about herself, or about her peers&#8211;and certainly not by what is reported that she said. Young&#8217;s remark to Kourlas that she &#8220;hates&#8221; what others make may have been one of those comically self-dramatizing overstatements &#8211;like the poet Marianne Moore saying, &#8220;I dislike poetry too,&#8221; or me saying to some modern-dance detractor, &#8220;Yeah, I hate modern dance, too.&#8221; Who knows. But Kourlas does have a habit of using a choreographer&#8217;s words to advance her own critical agenda. We all do it to some extent, <\/font><\/span><\/i><\/font><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">but hopefully not to the detriment of the artist herself.<\/font><\/span><\/i><\/font><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">) <br \/><\/font><\/span><\/i><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/i><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">In any case, I&#8217;ll really have to make a case for Young now! I should say that I haven&#8217;t liked everything she&#8217;s done&#8211;in fact, the first piece I saw I loathed so much, I booed. But this time around, I thought she had something important going on&#8211;and it isn&#8217;t Karen Finley redux. It&#8217;s Karen Finley for this precise flame-out moment. <br \/><\/font><\/span><\/i><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\"><br \/><\/font><\/span><\/i><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><i style=\"\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.8em;\">More later. (And <a href=\"http:\/\/www.artsjournal.com\/foot\/2008\/10\/performance_art_for_the_palin.html\">here it is<\/a>).&nbsp; <\/font><o:p><br \/><\/o:p><\/span><\/i><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><i><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><br \/><\/span><\/font><\/i><\/font><\/p>\n<p class=\"MsoNormal\"><font style=\"font-size: 0.512em;\"><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><font style=\"font-size: 0.64em;\">Photo by<br \/>\nChristian Rizzo, borrowed from Time Out New York.<\/font><\/span><\/font><i><font style=\"font-size: 0.512em;\"><span style=\"font-size: 10pt; font-family: Georgia;\"><o:p><\/o:p><\/span><\/font><\/i><\/font><\/p>\n<p><font style=\"font-size: 0.512em;\"><br \/><\/font><\/p>\n","protected":false},"excerpt":{"rendered":"<p>I don&#8217;t have a whole lot to say about Christian Rizzo, though I would like to, because his solo outing last weekend at CPR (Center for Performance Research) was part of the French Institute Alliance Francaise&#8217;s enterprising new festival Crossing the Line, which we are lucky to have. The French festival is a mini-version of [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-569","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/569","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/comments?post=569"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/569\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/media?parent=569"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/categories?post=569"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/tags?post=569"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}