3Min—€”Crane&Crocodile from Miriam Wolodarski on Vimeo.
The Crane & The Crocodile 2012 by Rosemary Hannon/Miriam Wolodarski, CounterPULSE, San Francisco. Photos by Marisa Aragona.
THE CRANE & THE CROCODILE 2.1: Domestic Interrogations by ROSEMARY HANNON & MIRIAM WOLODARSKI
MUSIC BY SHREE SHYAM DAS ELTON BRADMAN
APRIL 29th & 30th, 2016 at 8PM, Finnish Hall, 1970 Chestnut Street, Berkeley CA
Crane & Crocodile are Rosemary Hannon and Miriam Wolodarski, two shape-shifters adrift in the performance of contemporary life. In Domestic Interrogations, we sift through inherited aesthetics, inevitable influences, constructed identities and conflicted responsibilities, searching for new notions of value and meaning, turning up old mysteries and abominations.
This project is in perennially in process: performances are work in progress.
MUSIC BY SHREE SHYAM DAS ELTON BRADMAN
APRIL 29th & 30th, 2016 at 8PM, Finnish Hall, 1970 Chestnut Street, Berkeley CA
Crane & Crocodile are Rosemary Hannon and Miriam Wolodarski, two shape-shifters adrift in the performance of contemporary life. In Domestic Interrogations, we sift through inherited aesthetics, inevitable influences, constructed identities and conflicted responsibilities, searching for new notions of value and meaning, turning up old mysteries and abominations.
This project is in perennially in process: performances are work in progress.
LAST YEAR'S SHOW
The Finnish Hall, Berkeley, CA, July 2017
In 2017 and Crane & Crocodile, Rosemary Hannon & Miriam Wolodarski, two shape-shifters ever grappling with current onslaughts of identities, power struggles, and catastrophes, revisited Domestic Interrogations with another sweet, surreal, sisyphean dance attempt to pick up the pieces in “Last Year’s Show,” the duo’s third full-length collaboration asks: how do we keep on dancing, despite it all?
The Finnish Hall, Berkeley, CA, July 2017
In 2017 and Crane & Crocodile, Rosemary Hannon & Miriam Wolodarski, two shape-shifters ever grappling with current onslaughts of identities, power struggles, and catastrophes, revisited Domestic Interrogations with another sweet, surreal, sisyphean dance attempt to pick up the pieces in “Last Year’s Show,” the duo’s third full-length collaboration asks: how do we keep on dancing, despite it all?
How Do We Keep on Dancing?
Artist Exchange with Vala Tomasz Foltyn, Justyna Stasiowska and bartolomeo koczenasz
Lamella House of Queer Arts, Krakow, Poland, August 2017
This exchange was motivated by Tomasz's idea to share the piece Crane & Crocodile 2.1.: Domestic Interrogations with the Kraków arts community. Domestic Interrogations is a piece about two shape-shifters adrift in the performance of contemporary life. In it, two women sift through the influences that have shaped their aesthetics, dredging up the political, economic, and social components of the formal, the beautiful, the artistic. It is a piece that responds to current events. We saw many parallels between the political climate in contemporary Poland and the U.S., particularly as concerns the rise of the extreme right and attacks on women's reproductive rights. Bringing this work to Kraków was a step towards instigating vital conversations that build international solidarity between artists investigating the politics of the body.
Artist Exchange with Vala Tomasz Foltyn, Justyna Stasiowska and bartolomeo koczenasz
Lamella House of Queer Arts, Krakow, Poland, August 2017
This exchange was motivated by Tomasz's idea to share the piece Crane & Crocodile 2.1.: Domestic Interrogations with the Kraków arts community. Domestic Interrogations is a piece about two shape-shifters adrift in the performance of contemporary life. In it, two women sift through the influences that have shaped their aesthetics, dredging up the political, economic, and social components of the formal, the beautiful, the artistic. It is a piece that responds to current events. We saw many parallels between the political climate in contemporary Poland and the U.S., particularly as concerns the rise of the extreme right and attacks on women's reproductive rights. Bringing this work to Kraków was a step towards instigating vital conversations that build international solidarity between artists investigating the politics of the body.