Tickets: $12 in advance, $15 at door (cash only)
The Exponential Festival is a multi-week festival that seeks to promote theatrical performances created in New York and presented across Brooklyn.
Alex Romania – January 12
‘JERK’ is a physically vulnerable choreography that frames the male body precariously inside violence and desire — as I swing a microphone from my pelvis I evoke a landscape of forms drawing from BDSM, athletics, punk, religion, flagellation… Through genital hypnosis and rigorous discomfort, this dance is of (narcissistic) pleasure and (quiet) longing, (self) mutilation and (self) care. An exorcism of failures and a failure to exorcise… a dance to flatten and complexify the male body, to tenderize the flesh, to exhaust violent white masculinity, to newly inhabit — a phallic solo to recompose the phallus.
‘JERK’ has been in development since 2014 with commissioning support from Gibney Dance and the Agnes Varis Performing Arts Center, the Late Nite Series in Minneapolis, residency support in NYC from Chez Bushwick, Abrons Arts Center, in Portland from LACUNA, and in Buenos Aires from UV Estudios. Excerpts have been performed in NYC at Glasshouse Artlifelab, Movement Research at the Judson Church, Draftwork at Danspace, the Performance Mix Festival, the Center for Performance Research, Bushwick Open Studios, Diverse Universe Festival, and in it’s entirety at Domingo in Lima, Peru, and Human Resources in L.A.
Choreography, sound, costume, and performance by Alex Romania
images by Daniela Sanchez
Emily Wexler – January 13
In Blood Trees, six dancers perform inside a compositional structure that constantly dismantles itself. The work considers the consumption of women’s bodies by the public, while the women use their physical efforts, as a way to aggressively resist its theft. Beginning with an illusion where what is heard is not seen, the dancers move through shifting elements of visibility, both evidently through darkness and light, and less obviously by choreographic decisions and allowances from within. As the work continues, the bottom falls out, the space opens, and we witness as the performers come upon the haunting realization of their own inescapable dispossession.