TUESDAY, MARCH 20th

ONE NIGHT ONLY – 7:30 PM

ADVANCE TICKETS HERE

Join Match Cuts and Spectacle Theater for two works by Coco Fusco.

POCHONOVELA: A CHICANO SOAP OPERA
dir. Coco Fusco, 1996.
USA, 27 min.
English.

POCHONOVELA is a bilingual, bicultural blend of Latin America’s and the United States’ most popular television genres—the telenovela and the sitcom, respectively. The humor and madness of life in East Los Angeles are captured here in performances by members of the Los Angeles-based comedy troupe, Chicano Secret Service, and other U.S. Latino actors. This provocative comedy touches on political, social, cultural, linguistic, and family issues attendent to the cross cultural life of Mexican Americans living near or on the border—both psychologically and geographically. Music composed by the band Cholita.

THE COUPLE IN THE CAGE: GUATIANAUI ODYSSEY
dir. Coco Fusco, Paula Heredia, 1993.
USA, 31 min.
English.

In a series of 1992 performances, Coco Fusco and performance co-creator Guillermo Gómez-Peña decked themselves out in primitive costumes and appeared before the public as “undiscovered AmerIndians” locked in a golden cage—an exercise in faux anthropology based on racist images of natives. Presented eight times in four different countries, these simple performances evoked various responses, the most startling being the huge numbers of people who didn’t find the idea of “natives” locked in a cage objectionable. This provocative video, directed and produced by Coco Fusco and Paula Heredia, suggests that the “primitive” is nothing more than a construction of the West and uses comic fiction to address historical truths and tragedies.

Text courtesy of Video Data Bank

COCO FUSCO is an interdisciplinary artist and writer and the Andrew Banks Endowed Professor of Art at the University of Florida. She is a recipient of a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in the 56th Venice Biennale, two Whitney Biennials (2008 and 1993), BAM’s Next Wave Festival, the Sydney Biennale, The Johannesburg Biennial, The Kwangju Biennale, The Shanghai Biennale, InSite O5, Mercosul, Transmediale, The London International Theatre Festival, VideoBrasil and Performa05. Her works have also been shown at the Tate Liverpool, The Museum of Modern Art, The Walker Art Center and the Museum of Contemporary Art in Barcelona. She is represented by Alexander Gray Associates in New York.

MATCH CUTS is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore.

ONE NIGHT ONLY – Tuesday July 25 – 7:30 PM

Introduced by Jules Suo

PURCHASE TICKETS HERE

MATCH CUTS PRESENTS and Spectacle Theater present THE TRUTH SHALL NOT SINK WITH SEWOL (AKA DIVING BELL), a Korean documentary on the 2014 Sewol Ferry Disaster and the aftermath which followed, framed, and extended the tragedy.

THE TRUTH SHALL NOT SINK WITH SEWOL (AKA DIVING BELL)

dir. Lee Sang-ho and Awn Hae-ryong, 2014.
South Korea, 77 min.
Korean with English subtitles.

MATCH CUTS is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore.

Jules Suo is a writer/director based in New York City. She is a graduate of Fashion Institute of Technology, she attended New York University for film. Her short film 528NY is a short prequel to DOSI which has screened at film festivals around the globe. Currently in post on her feature film. She is the assistant programmer at Kaffny film festival.
http://www.uisigfilms.com

TUESDAY JUNE 6TH – 7:30 PM

ONE NIGHT ONLY

ATLAS AND DUNN IN PERSON

SOLD OUT

MATCH CUTS and Spectacle Theater present two works from the long-running collaboration between artist Charles Atlas and choreographer Douglas Dunn.

(photo of Douglas Dunn by Shelia O’Neal)

THE MYTH OF THE MODERN DANCE

dir. Charles Atlas, 1990.
USA, 26 min.

Collaborating with choreographer Douglas Dunn, Atlas uses anthropological text, satirical movement, and vividly colored chroma-keyed backgrounds in an episodic, often humorous look at the evolution of modern dance.

SECRET OF THE WATERFALL
dir. Charles Atlas, 1983.
USA, 29 min.

The confluence of words and movement propels this multi-layered collaboration by Atlas, choreographer Douglas Dunn, and poets Anne Waldman and Reed Bye. Dunn’s athletic choreography is performed to the rhythms, cadences, and associative meanings of the poets’ “cascade of words,” which function as music. Atlas introduces narrative references, ironically staging the dance in unexpected locations, including domestic interiors and vehicles. In a self-referential deconstruction that punctures the theatrical illusion, the poets are seen reading their texts and interacting as self-conscious performers within the dance. Atlas and his collaborators intersect the language of words with the language of the body.

Text courtesy of Electronic Arts Intermix.

MATCH CUTS is a weekly podcast centered on video, film and the moving image. Match Cuts Presents is dedicated to presenting de-colonialized cinema, LGBTQI films, Marxist diatribes, video art, dance films, sex films, and activist documentaries with a rotating cast of presenters from all spectrums of the performing and plastic arts and surrounding humanities. Match Cuts is hosted by Nick Faust and Kachine Moore.

CHARLES ATLAS is one of the premier interpreters of dance, theater and performance on video. Working in film, video, installation, theater and performance for four decades, he has created works for screen, stage, gallery, and television. A pioneer in the development of media-dance, he transforms this genre into a provocative and ironic collusion of narrative and fictional modes with performance documentary. He has collaborated with international performers and choreographers, including Merce Cunningham, Michael Clark, Leigh Bowery, John Kelly, Karole Armitage and Bill Irwin.

DOUGLAS DUNN is an American postmodernist dancer and choreographer. He is considered a highly eclectic and minimalist postmodern choreographer, who uses humor, props, and text in his dances. In New York, Dunn began working with Yvonne Rainer and was a dancer with her company from 1968-1970. After completion of his studies with the Merce Cunningham studio, he was accepted into their professional company as a dancer from 1969-1973. In 1970 he became a member of the avant-garde improvisational group the The Grand Union until 1976. Dunn premiered his professional company, Douglas Dunn and Dancers, in 1976, where he served as artistic director. He was commissioned by various companies to choreograph works including the Paris Opera Ballet, Groupe de Recherche Choréographique de l’Opéra de Paris, Grande Ballet de Bordeaux, New Dance Ensemble of Minneapolis, Walker Art Center (Minneapolis), Repertory Dance Theater (Salt Lake City), Ballet Théâtre Francais de Nancy, Institute for Contemporary Art (Boston), Perth Institute of Contemporary Art (Australia), and Portland State University (Oregon).