Competition: US & Canada
Moriah Evans’ work positions dance and choreography as a speculative process. Developing movement from the unseen, yet felt, worlds of a body’s materiality and affective interior space, Evans’ projects question default hierarchies between flesh, body, self, and subject. Drawing on both feminist critiques of visuality and somatic choreographic practices, Evans’ work expands a relation to dance beyond the visible, towards different ways of sensing ourselves and our relations to one another. Recent works include: REPOSE (Beach Sessions, ΝY, 2021) BASTARDS: We are all Illegitimate Children (NYU Skirball, ΝY, 2019); Configure (The Kitchen, ΝY, 2018); Figuring (SculptureCenter, ΝY, 2018); Be my Muse (Pace Live, NY, 2021; Hirshhorn Museum, Washington DC, 2018; Villa Empain, Brussels, 2016); Social Dance 9-12: Encounter (Danspace Project, ΝY, 2015); Social Dance 1-8: Index (ISSUE Project Room, ΝY, 2015); Another Performance (Danspace Project, ΝY, 2013); and Out of and Into (8/8): STUFF (Theatre de l’Usine, Geneva, 2012). In 2011 Evans initiated The Bureau for the Future of Choreography—a collective created to investigate participatory performances and choreographic systems. Evans was Editor-in-Chief of the Movement Research Performance Journal (2013-2020), Curatorial Advisor for the Tanzkongress (2019), and since 2016 has been a co-Curator/Facilitator of Dance and Process (The Kitchen).