Bringing context and critique to the cultural moment. Deep dives, reviews, and debate encouraged.
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© 2020 Relevant Protocols Inc.
Bringing context and critique to the cultural moment. Deep dives, reviews, and debate encouraged.
40686 Members
We'll be adding more communities soon!
© 2020 Relevant Protocols Inc.
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"“WE SHOULD HAVE BEEN DANCE CRITICS,” said one art critic to another as they cycled through Berlin, bodies juddering as if struck by a frying pan. We were on our way home from Kraftwerk, a power plant turned club turned performance venue where, on the invitation of Light Art Space, Sharon Eyal, an Israeli choreographer and long-time dancer for the renowned Batsheva Dance Company, recently presented a number of the works she has produced with Gai Behar for their company, L-E-V. Soul Chain, 2017, the piece we saw that night, was a thing of beauty, but the kind of beauty that is exposed like bone under flesh, or procured from below like groundwater. We were shocked."
"“WE SHOULD HAVE BEEN DANCE CRITICS,” said one art critic to another as they cycled through Berlin, bodies juddering as if struck by a frying pan. We were on our way home from Kraftwerk, a power plant turned club turned performance venue where, on the invitation of Light Art Space, Sharon Eyal, an Israeli choreographer and long-time dancer for the renowned Batsheva Dance Company, recently presented a number of the works she has produced with Gai Behar for their company, L-E-V. Soul Chain, 2017, the piece we saw that night, was a thing of beauty, but the kind of beauty that is exposed like bone under flesh, or procured from below like groundwater. We were shocked."
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