In MINOR MATTER—part two of her Blue, Red, and White trilogy that began with Sorrow Swag—dancer-choreographer Ligia Lewis and her dancers Jonathan Gonzalez and Tiran Willemse interrogate the color red as a medium between love and rage.
“[With this piece] I knew that I was working specifically with a very strong relationship to space, so I wanted to animate the periphery as much as possible. I knew that I was trying to interrogate a certain type of body and a certain type of embodiment. I was also trying to play with duration, or at least with creating a relationship to time that had an articulation of memory, and the present, and a sort of posturing towards the future… happening simultaneously…
“I have a very contentious relationship with abstraction, at least in early notions of abstraction being ‘pure’ or unadulterated form, so I go in knowing that I’m not entirely going to get that, or maybe not entirely interested in it, but it’s an interesting place to start for me…
“I was thinking about marks and traces in space, which is me thinking through what it means to be a marked body on stage. How do you leave a mark or a trace?” — Ligia Lewis interview with Emily Gastineau
Returning to L.A. after a preview at Human Resources—see Evan Moffitt’s review—MINOR MATTER is presented as part of this month’s Pacific Standard Time Festival: Live Art LA/LA.
Friday and Saturday, January 12 and 13, at 8 pm.
Sunday, January 14, at 6 pm.
Redcat, 631 West 2nd Street, downtown Los Angeles.
See Hannah Black on Lewis.
See Martha Kirszenbaum, interview with Ligia Lewis, Kaleidoscope 29 (Spring 2017).
Above: Kaleidoscope 29 (Spring 2017), Ligia Lewis cover.
Below: Ligia Lewis, minor matter. Photographs by Martha Glenn.
