Two men and one woman move silently for three hours. Their bodies measure the space, pacing its length in a walking pattern that slowly evolves into militaristic marching. At other times they employ more sensorial gestures, smelling the walls, floors, and one another, or carefully touching and listening to its surfaces. These spatial assessments give way to other modes of occupying the space, and characters emerge: one performer takes on the mannerisms of a teenager at a dance, another acts like a factory supervisor, yet another drops to his knees in prayer. Relationships and narratives build, and then shift; the actions move from tenderness to aggression, from familiarity to perversion, from military-like discipline to rampant chaos. Character types and power dynamics are constantly re-oriented and overturned.
Joining the three performers is VanDyke himself, playing the role of stage-coach and director. VanDyke moves in and out of the action, offering both banal and loaded cues in a monotone voice that breaks the silence. His presence becomes manipulative, even sadistic, as he encourages the performers to turn against one another. Later, he asks the actors to play director and tell him what to do.
With One Hand Between Us (+ 1) is based upon a 40-hour work that VanDyke created last fall for Performa 11, but here stripped of the props, makeup, sculptures, and architectural elements that marked the original. This version is staged in conjunction with Chelsea Knight’s video installation Frame. In Knight’s video, workers piece together an architectural structure that is never fully completed. Her workers pause to recite passages from feminist texts, revealing narratives of emancipation that, like the structure taking shape around them, are also incomplete. So, too, in With One Hand Between Us (+1), gestures of power come into contact with gestures of empowerment, both re-orienting the other.
Jonathan VanDyke’s recent works includes The Long Glance, a solo performance at The Albright Knox Art Gallery; Obstructed View, a performance and installation at The Power Plant in Toronto; and Painting Bitten By a Man, a multi-media installation and performance at Vox Populi in Philadelphia. His work has been reviewed in Art Forum, artforum,com, TimeOut New York, Art Papers, Modern Painters, White Hot, artslant, The Philadelphia Inquirer, and The Buffalo News, among others. He received an MFA from Bard College. VanDyke appears courtesy of Scaramouche, New York.
Bianca Christina is a performer, choreographer, and storyteller who hails from Sydney, Australia. In New York, Bianca has adored collaborating in experimental, movement-based, devised, and abstract performance pieces: as Badger in The Storm: an Apocalyptic Folk Operetta (Secret Project Robot), as Star in David Deblinger’s Lucky Penny (Cherry Lane Theater/Rattlestick Tongues), and as Islander/Ensemble in The Man Who Loved Islands (Secret Theatre). Bianca most recently played the roles of Bagheera/Mother Wolf in Theater East's stage adaptation of The Jungle Book (Peter Jay Sharp Theater at Playwright's Horizons), and in staged readings of Blank Canvas (A.R.T. New York/ Tea in a Big Mug), Antigone (East 3rd Productions), Strange Heart (Occupy Your Mind Project), and Sister Sandman Please (9BC Performance Series). She has recently choreographed for New Perspectives Theatre Co. and Edinburgh Fringe.
Zackery Haynes is a recent graduate of the William Penn Performing Arts Institute, where he performed in many musical and theatrical productions. He has been featured in several of Jonathan VanDyke’s works, including the four-channel video Elision. He is currently based in York, Pennsylvania.
Anthony Wills Jr. is a Performance/ Visual Artist whose work has been presented at various venues across the country. Anthony has a history of collaborating with artists including work with William Pope.L, Artist is Absent , (re-performances of Marina Abromovic's Relation in Space), Jonathan VanDyke (With One Hand Between Us, Performa 11) and many others. Anthony is co-founder of the artist collective Artistic Pride Productions and a member of Giovanni's Art Group of Capital Hill (DC). Most recently he played the role of Denzil Best in the Swedish film “Monica Z” directed by Per Fly, and Willie in "Master Harold... and the Boys" (Gloucester Stage). His newest performance plays are “Eddie Falls” and "11 1/2 Pieces on Death, Dying, Life and Living (a comedy)" which premiered at the Fridge Gallery in DC.
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