top of page
Welcome to Bridge Live Arts' media archive.
Here we share excerpts and footage from our 14 year history of curating equity-driven live art and public dialogues that bridge artistic disciplines, geography, and perspectives.
Bridge Live Arts
Power Shift: "PURPLE Is" by Judith Sánchez Ruíz (excerpt)
Created by Judith Sánchez Ruíz Performed by Judith Sánchez Ruíz, with sam wentz. (10/11/2020, Berlin & Los Angeles) Presented as part of HMD's 2020 Bridge Project "Power Shift: Improvisation, Activism, and Community" ---- PURPLE is, the fourth iteration of Judith Sánchez Ruíz’s improvisational duet form in homage to the late choreographer Trisha Brown, takes place over Zoom with fellow Trisha Brown Dance Company (TBDC) alum sam wentz (2009-14). Judith’s homage connects dancers and collaborators from the company’s 50+ year span. Previous renditions of this tribute have been performed with Lance Gries, Laurel Jenkins, and Jodi Melnick. This version of “PURPLE is” connects alumni of the company across both time and space, with Sánchez Ruíz livestreaming from Berlin and wentz from Los Angeles. The distance between the performers--5,781 miles--will produce a 10 second delay in their connection. The performers, in their respective locations, will utilize projectors to engage with life-size versions of the each other. Spanning across geographic, experiential, historical, and temporal distance, the performers will reach for intimacy in isolation. --- Related Links Related links: About Judith Sánchez Ruíz - https://judithsanchezruiz.tumblr.com/ About HMD's the Bridge Project - https://www.bridgeproject.art/ About Power Shift - https://www.bridgeproject.art/powershift
Bridge Live Arts
Ten Artists Respond to Locus: Highlights (excerpt)
2016 Bridge Project: Ten Artists Respond to Locus, was a groundbreaking, multidisciplinary exchange with dance history inspired by the work of dance pioneer Trisha Brown. In partnership with local curators, HMD commissioned a diverse group of ten outstanding artists to learn Brown’s iconic dance Locus and create new works in response. HMD presented the ten premieres, along with a performance by local dancers of Locus itself, in the YBCA Forum Friday October 14 & Saturday, October 15, 2016. Ten Artists Respond to Locus was made possible in part through support from the National Endowment for the Arts, Zellerbach Family Foundation, William & Flora Hewlett Foundation, Kenneth Rainin Foundation, San Francisco’s Grants for the Arts, the San Francisco Arts Commission, and the Sakana Foundation. www.hopemohr.org/curating video by: Loren Robertson Productions - www.lorenrobertson.com
Bridge Live Arts
Lineage / Have We Come a Long Way Baby?: Performance Highlights (excerpt)
HMD's Bridge Project's Multidisciplinary Performance Series approaches curating as a form of community organizing to facilitate cultural conversations that cross discipline, geography, and perspective. “[A] phenomenal celebration of West Coast post-modern dance, bringing together four powerhouse choreographers in a single program.” -- Heather Desaulniers, The Bridge Project 2014, September 28, 2014 For the fifth anniversary of its Bridge Project, Hope Mohr Dance, in association with the Joe Goode Annex, presented "Have We Come A Long Way, Baby?", a program dedicated to the West Coast post-modern dance lineage. In addition to performances, programming included the above panel discussion on the relationship of dance history to contemporary work moderated by Stanford University dance historian Dr. Janice Ross in conversation with Anna Halprin, Simone Forti, and Hope Mohr. Sept. 27, 2014 at the Joe Goode Annex, San Francisco. Anna Halprin, the matriarch of post-modernism, performed "The Courtesan and the Crone" (1999), an acclaimed solo addressing the aging body in motion. Simone Forti, who studied with Halprin before joining the Judson Dance Theater in New York, performed "News Animations," an improvisational performance in which personal experiences interweave with the flickering, fluid visions of the world brought to us by the news media to create a bold mosaic of our shared concerns. Mohr, who performed in the companies of three members of the Judson Dance Theater (Trisha Brown, Lucinda Childs, and Douglas Dunn), performed "Carnation," Lucinda Childs’ seminal 1964 solo examining the performance of gender through the use of simplicity, stillness, humor and task. Finally, Mohr presented "s(oft is)hard," a new solo for Peiling Kao.
Hope Mohr Dance
Reorganizing Ourselves, part of Hope Mohr Dance's 2015 Bridge Project: Rewriting Dance
This footage excerpts the community salon portion of "Reorganizing Ourselves," presented by Hope Mohr Dance's 2015 Bridge Project: Rewriting Dance. "Reorganizing Ourselves" consisted of performative lectures by choreographer Deborah Hay and philosopher Alva Noë discussing perception, consciousness, and the links between art and science. The program concluded with this salon-style discussion with audience members, facilitated by dance curator Michèle Steinwald. The event took place at the Joe Goode Annex in San Francisco on November 7, 2015. Hope Mohr Dance produced the program in association with Counterpulse. Hope Mohr Dance's Bridge Project "annually recruits the prime movers of American postmodernism" (S.F. Chronicle) to the Bay Area to teach and perform. The Bridge Project approaches curating as a form of community organizing to facilitate cultural conversations that cross discipline, geography, and perspective. By convening aesthetic conversations that reach beyond the region, the Bridge Project deepens local critical discourse around dance and positions the Bay Area in the global performance community. www.hopemohr.org/curating
Bridge Live Arts
Signals From the West: Bay Area Artists in Conversation with Merce Cunningham at 100 (full)
"Signals from the West: Bay Area Artists in Conversation with Merce Cunningham at 100" was a bicoastal collaboration with the Merce Cunningham Trust, ODC Theater and SFMOMA’s Open Space as part of the international celebration of the Cunningham centennial. "Signals from the West" commissioned ten Bay Area artists from diverse disciplines and backgrounds to participate in a residency August 12-23, 2019 with former Cunningham dancers Rashaun Mitchell and Silas Riener and create new works of art in response to this experience. These commissioned works will premiere, alongside excerpts of Cunningham repertory performed by Bay Area dancers selected through a workshop with Mitchell and Riener, at ODC Theater November 8 & 9, 2019. SFMOMA’s Open Space commissioned an online series in conjunction with the program. To foreground difference, the project’s co-curators commissioned artists who represent a diversity of disciplines, perspectives, and ways of working and intentionally did not select anyone who has ever worked directly with the Cunningham company. The ten Bay Area commissioned artists were: Sofia Cordova Maxe Crandall Alex Escalante Christy Funsch Julie Moon Jenny Odell Nicole Peisl Danishta Rivero Dazaun Soleyn Sophia Wang Press "Signals from the West “encourages a critical, probing engagement with Cunningham, one befitting the artist’s own restless disposition" —Sam Lefebvre, “Merce Cunningham Artist Residency Celebrates, Challenges Dance Luminary,” KQED Arts "The initiative promises not only premieres, but also searching conversation as to what dance — this most ephemeral and physically vulnerable of arts — has to offer as its connecting essence during disconnected times…. a fresh encounter with Cunningham’s legacy" —S.F. Chronicle FUNDING CREDITS Signals from the West: Bay Area Artists in Conversation with Merce at 100 is a program of HMD’s Bridge Project and is made possible by the Merce Cunningham Trust, ODC Theater, SFMOMA’s Open Space, National Endowment for the Arts, Kenneth Rainin Foundation, San Francisco’s Grants for the Arts, the Walter & Elise Haas Foundation, the Zellerbach Family Foundation, the Phyllis C. Wattis Foundation, and generous individual donors. The Merce Cunningham Centennial Community Program is supported by a generous grant from the Doris Duke Charitable Foundation. The Merce Cunningham Centennial and its programs are generously supported with major funding from the Merce Cunningham Trust, the Paul L. Wattis Foundation, the American Express Foundation and Judith Pisar.