performances of Vessels,

Choreographed by Hana van der kolk 

at the Hammer Museum

in July with a most extraordinary cast

Performances with choreographer Victoria Marks in

"Medium Big Inefficient Considerably Imbalanced Dance"

at Redcat’s NOW Festival for New Original Work, September

and

“Smallest Gesture/Grandest Frame”

as part of CalArts‘ Commuter Fest, October

   

Stay tuned. Vic and I are up to something new...                                                                                       

                                                          

Find out about alexx’s teaching endeavors and schedule at:


ww.theRadiantMovement.blogspot.com

alexx . news

Photos (from top to bottom) by: N. Ramirez, the AZ Four, S. Gunther, Teilo, A. Robideaux.

alexx . news

After a a brilliant, though Hurricane-filled, 10-day residency at the Dragon’s Egg in Mystic, CT, I showed The Burial Line (thank you , Janusz!) at the Construction Company in an evening of artists who had all visited the Dragon’s Egg residency over the past year.

Thanks, Marya!


I was joined in CT by Janusz Jaworski, Ann Robideaux and Mimi Yin

this dance is stolen

presented

at LAMA’S Catalyst Series

a structural experiment. a formal exercise. a love letter.

we steal because we love.

“...because music and performing doesn’t make sense.” - David Byrne


BROUGHT TO LIFE by: Dorothy Chen, Ian Isles and

Alexandra Shilling


ORIGINAL SOUND COMPOSED AND MANIPULATED LIVE by:

Julio C. Montero, Jr.


WHEN: December 3rd and 4th, 2011 at 4pm and 8pm


WHERE: The Diavalo Space 616 Moulton, Los Angeles, CA


WHAT: The concept - "Back by Popular Demand," For this year's Catalyst, "create a work that brings back something that was popular once but in today's context."





We premiered

Below The Metal, Skin

at Third Ward, Brooklyn as part of Moviehouse

on Sunday January 8, 2012


Below the Metal, Skin is a multi-channel installation with three screens and three sound sources, and sound recorded on-location, composed by Australia-based sound artist Camilla Maling completes the installation.

this dance is stolen was performed

along with the work of Emily Beattie and Carson Efird in

Back Flash Forward

an evening of new . interdisciplinary . dance at

UCLA’s Glorya Kaufman Hall

March 2, 2012 at 8pm

much gratitude to all who came out!


this dance is stolen

performed

at Redcat’s Studio Series


March 31 and April 1, 8:30pm





Photo by Da Xu



performance still: SONDERBAUTEN: THE SPECIAL BLOCK. Yeshiva University Museum. 2011. Dancers Mimi Yin and Sarah Young.

SONDERBAUTEN: THE SPECIAL BLOCK

Following its NYC premiere in September, choreographer Alexx Shilling, composer Isaac Shankler and Quintan Ana Wikswo adapted SONDERBAUTEN as a site-located meditation in poetry, movement, and music for live performance at the Los Angeles Museum of the Holocaust on Yom HaShoah. With dancers Chey Chankethya and Sarah Jacobs. Poetry performances by soprano Heather Harstad and Anna Lisa Bloth, and violin by Andrew Tholl.
www.lamoth.org

In 1941, female prisoners were transported from Ravensbruck to Dachau – some were forced into the rape brothel, and others into enslaved labor at the Agfa camera factory sub-camp of Dachau in Munich.

In 2009, Quintan recovered several of the Nazi military film cameras manufactured by these women, and worked with their cameras to photograph the unmarked site at Dachau where the rape brothel once stood. Today, the site remains unmarked, and the experience of these women prisoners remains largely obscured.

An inquiry and meditation surrounding the obscured and suppressed histories of gender-based war crimes and State-sponsored violence against women, SONDERBATUEN is a suite of interdisciplinary works in multi-panel photographs, film installations, original text, and live performance collaboration in dance, music, film and text.

To learn more, click HERE.


 

Alexx performed in an installation with Meredith Monk Ensemble

as part of Monk’s premiere

On Behalf of Nature

at UCLA’s Freud Playhouse, January 2013


Click HERE for the L.A. Times review of the piece

Photo by Genaro Molina/LA Times