These are the kind of dressing-up games that Michael Clark likes to play, part proxy-exhibitionism, part affectionate nod to a transgressive past, but Clark understands the dynamics and language of dance, whereas Chouinard is content to present us with a series of animated tableaux.
Dj Gary Cannavo, masspooldjs, Danvers, Boston dope remix Tremayne Gibson, Valdosta sauce dj kaz, florida Banger! Dj New Era, Fairfield Dope remix!! » - Michaela Schlagenwerth, Berliner Zeitung, Berlin, 2005.
The team says that, one day, similar implants could be used to deliver drugs to specific regions in the body.
Gassed up, 300, no spartan oi I beg man pardon, dot-dot blastin' Might get blicked where you're two-step dancin' brrr I do no talkin', the gyal, I'm clartin' It's your boy in a spliff, I rass him mm-mm Bro red card him, shots, no warning yo When I see red, I'm chargin' dead Man, I'm still up on the roads, could've left mm-mm Still chattin' to my bros on the tech' bah, bah Fuck that, man, I don't give a f brrr What, you wanna get smoked? Often, the dancers appear on points: on one, two, and even four at a time.
» - Sandra Luzina, Tagesspiegel, Berlin, 2005 « Crutches and prosthetics change into instruments that incite the dancers to ever higher performances.
It's their real story, not fiction, and as Susan prepares sandwiches at one end of the studio, Darren deftly sketches the place in.
In a spectroscopy of the gesture, we also see them using different devices - crutches, rope, prostheses, horizontal bars, and harnesses - which at times liberate their movements, at others fetter it, and at still others create it.