February 27, 2011 |
Reporting from New York High above the city, with a clear view of the icy streets below, the illustrious choreographers and dancers Eiko and Koma began a recent morning in their midtown apartment deciding what photographs should go into a new book about their work, soon to be published by the Walker Art Center in Minneapolis. It complements their current tour's "Regeneration" program, which comes to Los Angeles this week. Since the early '70s, Eiko and Koma have created bold, almost still, theatrical works of elemental power.
February 6, 2004 |
It's a time of change, yet she can't seem to rouse herself from stasis. On campuses and in the streets of 1968 San Francisco, people are challenging old ways of doing things. Beautiful, volatile Eiko, however, has just married the safest guy around and, though just back from her honeymoon, is already miserable. "You're bored, aren't you?" a gentleman friend of the family asks through a creepy, Cheshire Cat-like grin. Yes, but the conflict goes much deeper.
November 30, 2003 |
For the past two months, Cirque du Soleil's "Varekai" has been performed beneath the bright blue-and-yellow tents in front of downtown's Staples Center, the acrobats in costumes as bright and bizarre as the mystical world they inhabit. But those jagged edges and spiked points that lend a dangerously thrilling look are anything but dangerous.
February 3, 2001 |
In a rocky cavern deep within the Earth, two figures slowly stir in the darkness and reach up into thick masses of air roots that block the sky but refract brightness from above. Wearing robes that match the colors of their environment (white for the woman, red for the man), they sightlessly feel their way toward the light, and that light becomes their partner in the haunting life-cycle that is Eiko and Koma's "When Nights Were Dark."
November 26, 2000 |
On the phone from her New York apartment, Eiko Ishioka answers a question with a question. "How do you look at my world?" she asks. Ishioka, an artist-designer whose work ranges from advertising to art films, Hollywood costumes to installation art, says the question is central to all her work. Throughout her career, her purpose has been to coax--often jolt--people out of their preconceived perspectives. "You have to examine how you are looking at me and what values you bring," she said.
January 16, 1995 |
Downy feathers float from the ceiling to the stage of Schoenberg Hall a few at a time, forming a carpet that gleams like fresh snow yet continually drifts and eddies like sand under the sea.