The Michigan Daily
Friday, October 2, 1992
We have the technology
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by Alexandra Beller
Computers store our memory;
modern transit increases our speed;
new medical techniques can even
help us breathe or keep our hearts
beating. Everywhere we look, tech-
nology is being used to extend,
adapt, and improve our bodies and
minds. We may ask, sometimes,
where we end and these modern in-
Visual artists such as Hannah
Hoch and Cindy Sherman have been
examining the issue of the human
body being both at the mercy of the
technology it. creates. Lorn Mac-
Dougal and Alain Le Razer, in a
collaborative effort, have combined
several innovative media techniques
to produce a concert which explores
these very timely and exciting ideas.
Using a combination of dance, origi-
nal music, and film, the concert will
concern itself with the extension of
the stage and of the human body
through a juxtaposition of the live
dancer with projected film.
MacDougal, who has danced
with such companies as Martha
Graham, Lar Lubovich, and Daniel
Nagrin's Workgroup, brings to the
stage her many years of choreo-
graphic and performance experience.
An acclaimed dancer, she will be
performing with Le Razer as well as
in her solo entitled, "Distillations,"
which has been lauded for its ex-
pressiveness and lyricism.
Le Razer, a multi-talented visual
and performing artist, is a graduate
of L'Ecole des Beaux Arts of Paris.
Originally a painter, Le Razer has
incorporated his unique style with
the technological possibilities avail-
able to today's artist. le is now a
skilled animator and an International
New York Film Festival gold medal-
ist. In addition to providing the vi-
sual background, he has also com-
posed most of the music for the con-
cert which includes a wide range of
sound choices, from environmental
The concert will include "Two
Figures Against," which portrays the
dancers as peasants set against a film
of their village during a war. They
connect with the film during inter-
vals of overlapping movement. In
one scene, the couple caress each
other after au on-screen bed has been
"Stroll," a solo by Le Razer, will
utilize not only his animation tech
niques, but also his mime back-
ground as he is shown walking
through city landscape as it is cre-
ated in a projected animation. They
will also present the highly ac-
claimed "Doggone," an abstract
composition using such diverse mo-
tifs as dogs and teapots.
One of the most difficult aspects
of combining dance and film is the
possibility of one overshadowing the
other. As in our system of advanced
technology, the person may be
crowded out by the machine. "Dance
and Film" should provide the oppor-
tunity to not only see the exciting
artistic extension of the body, but
also to examine the relationship be-
tween the human body and the tech-
nology it has created.
DANCE AND FILM will be held
Sunday at Studio A Theater in the
Dance Building (adjacent to the
CCRB) at 8 p.m. Tickets are $8, $5
for students. Call 763-5460.
Alain Le Razer performs "Stroll" and other works in "Dance and Film," Sunday at Studio A Theater.
Drop everything (and we mean
everything.) Wynton Marsalis
(yes, the Wynton Marsalis) will be
at Hill Auditorium with the
Lincoln Center Jazz Orchestra
Sunday at 8 p.m. And, for all you
students, there are special $16
student tickets available at the
Coach and three
You've seen the cheesy AATA
commercial, now see the Chenille
Sisters in person. (We must say, if
you're going to sell out, for pete's
sake don't do it to a bus company.)
Shows are at 1 and 3:30 .m. at the
Power Center on Sunday, and
they'll be singing from their new
album "The Big Picture and Other
I'll W IT
Songs for Kids." Tickets are $9 at
the Union Ticket Office and
Ticketmaster - and hey, take the
comedy troupe "Just Kidding"~
returns on Saturday for a show at
on Saturday in the Power Center.
Ticket cost depends an awful lot
on when and where you buy it, so
just call 763-TKTS to figure it out.
Our Sci-Fi friend (who, we're
assured, has been on iany a (late)
(poses a question, Why does the
Sci-Fi Chalincl'4 (Columbia 5 1)
noontime "Doctor Who I lour"
only last 30 minutes? lime
dilation, we presume.
Constructions of a New York artist
by Sherry A. Holmberg
When you climb the winding
marble stairs to the second floor of
the Museum of Art you will find an
old weathered window. Through a
glass pane that once occupied a fairmn
house you will see a grid. This nos-
talgic moment draws you into an ex-
hibit comprised of pieces that, at
first glance, appear to be antiques;
rather they are "Recent Con-
structions' by.Janice Gordon.
Instead of using a newly
stretched canvas, Gordon paints
upon old wood, adding another layer
to its history. Her pieces carry with
them a grounding from the past, a
character that can only be found in
an object that has endured years of
painting and weathering. The cotton
and linen woven book plates she
uses for her collages are from the
mid 19th century.
Using primarily antique objects
discarded by those around her,
Gordon discreetly voices her con-
cern for the environment. These
bones, branches, books, and wood
panels assembled together capture
Museum of Art
various aspects of history. In her
catalog, Gordon makes an artistic
statement. "For me the structures be-
come metaphors for the human
spirit. The inner life is discovered
only by looking at what is not read-
ily apparent - private aspects of the
self, deeper levels of consciousness,
the compartments remain sealed.
The guards patrol the area prevent-
ing curious onlookers from attempt-
ing to unlock the hidden mysteries.
A 16th century lock affixed to a
wooden book form filled with clay
pipes and other objects is described
by Gordon to be the Earth; under-
neath it, stands another open book,
heaven. This work entitled
"Inshallah (Prayers for Peace)" is the
artist's response to the Persian Gulf
War. This piece became extremely
powerful following the artist's pre-
sentation. The title and construction
on their own however, do not convey
the powerful feeling and expression
that accompanied her words.
Janice Gordon's most provoca-
tive work is an icon-like relief enti-
tled "Benelication." Its composition
is intriguing and more interesting to
look at as the eye moves closer.
Comprised of panels, this work tells
a story. The medical engravings she
uses grounds this tale in life's begin-
ning. Her art embodies a human
form and spirit; the outside rough
and weathered, the inside beautifully
Gordon in her recognition of
spectator curiosity left a 17-minute
video for her audience to view. In
these few minutes you will get see
inside some of the inner most com-
partments, while becoming ac-
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different layers of reality."
These layers of reality she speaks
of are apparent not only in the mate-
rials she chooses to use, but also in
her assembly of them. Almost. every
piece in the exhibition has at least
one secret compartment. Doors that
open, shutters that close, cabinet size
wooden pieces that when shut look
like a book all spark a curiosity
within the viewer.
However, without her presence
quainted with their maker. You
have to locate a guard - who most
likely has disappeared now that one
could be of assistance - to activate
the video player that is also hidden
away in the steel box in the corner of
RECENT CONSTRUCTIONS will be
on display at the University of
Michigan Museum of Art through
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