MEET THE ARTISTS
Choreographer, performer, educator, essayist KIMBERLY BARTOSIK creates viscerally provocative, ferociously intimate choreographic projects that are built upon the development of a virtuosic movement language, rigorous conceptual explorations, and the creation of highly theatricalized environments. Her work, which is deeply informed by literature and cinema, dramatically illuminates the ephemeral nature of performance.
Kimberly is a 2020 Bessie Nominee for Outstanding Performance for through the mirror of their eyes (New York Live Arts). She is a 2019 Guggenheim Fellow in Choreography and a 2020 Virginia B. Toulmin Women Leaders in Dance Fellow at Center for Ballet and the Arts at NYU. Her 2020 quarantine project, The Game, was commissioned by the Onassis Foundation and presented as part of Fusebox Festival. In NYC Kimberly’s work has also been commissioned and presented by BAM Next Wave 2018, American Realness, FIAF’s Crossing the Line Festival, Abrons Art Center, Gibney, Danspace Project, The Kitchen, La Mama, and BEAT Festival. Kimberly has toured to Supersense: Festival of the Ecstatic (Melbourne, Australia), Wexner Arts Center, Dance Place, American Dance Festival, The Yard, MASS MoCA/Jacob’s Pillow, The Flynn, Bates Dance Festival, Church, Columbia College , Black Mountain College Museum + Arts Center, Mount Tremper Arts, Festival Rencontres Chorégraphique Internationales de Seine-Saint Denis, Artdanthe Festival, and others. In 2021 she will create a new work in partnership with Torn Space Theater and Lafayette High School for children of refugee immigrants.
Kimberly is a 2019-20 Harkness Dance Center Artist-in-Residence @ the 92nd St Y and a 2019 Exploring the Metropolis (EtM) recipient with Composer Sivan Jacobovitz. In 2017 she received a National Dance Project (NDP) Production & Touring Grant and Community Engagement Fund awards, supported by the New England Foundation for the Arts. Kimberly is a 2010 and 2017 MAP Fund grantee. She has also received support from the Jerome Foundation; FUSED (French-US Exchange in Dance), a program of the New England Foundation for the Arts in partnership with The Cultural Services of the French Embassy and the French American Cultural Exchange; Mid-Atlantic Arts Foundation, USArtists International; Creative Arts Initiative (CAI); New York Foundation for the Arts, Building Up Infrastructure Levels for Dance (BUILD); American Dance Abroad; New Music USA, Live Music for Dance; and Foundation for Contemporary Arts, Grants to Artists and Emergency Grants.
In 2017 Kimberly was a Dancing Laboratory Residency Artist at the National Center for Choreography at the University of Akron and a Bogliasco Foundation Fellow. She is a 2019 and 2015 Merce Cunningham Fellow; a 2016 Gibney Dance DiP Residence Artist; and a recipient of an ART, a Capacity-Building grant through Pentacle. In 2018, Kimberly made her curatorial debut as part of DoublePlus at Gibney.
Kimberly has been in creative residence at New York Live Arts, Live Feed and Studio Series; Marble House Project; National Choreographic Center at Akron/NCCAkron; Centre Chorégraphique National-Ballet de Lorraine; LUMBERYARD Center for Film & Performing Arts; Gibney Dance Center’s DiP Residency; Centre Chorégraphique National de Franche-Comté à Belfort, France; Governor’s Island through Lower Manhattan Cultural Council’s Swing Space Program; Herberger Institute for Design and the Arts at Arizona State University; Joyce Soho Artist Residency Program; University of Buffalo, LaGuardia Performing Arts Center; Jacob’s Pillow; Kaatsbaan International Dance Center; Mount Tremper Arts; White Oak Plantation; and Movement Research.
Kimberly was a member of the Merce Cunningham Dance Company for 9 years and received a Bessie Award for Exceptional Artistry in his work. She has an MA in 20th Century Art and Art Criticism from The Graduate Faculty of Political and Social Research of the New School University. Kimberly has been a guest artist/faculty at Hollins University, Princeton University, The Juilliard School, Rutgers University, Bates College, The Playground, University of North Carolina School for the Arts, Arizona State University’s Hergberger Institute for Design and the Arts, Colorado College, and University of Buffalo. She currently teaches at SUNY/Purchase Conservatory of Dance and the Merce Cunningham Trust.
Kimberly Bartosik's website: daela.org
Since the early 1990s, MATTHEW RITCHIE has developed an installation and painting practice drawing from the vocabularies of science, sociology, anthropology, mythology and the history of art. In his paintings, installations, wall drawings, light boxes, sculptures, projections, artists books and performances, Ritchie describes the generation of systems, ideas, and their subsequent interpretations in a kind of cerebral web, concretizing ephemeral and intangible theories of information and time in a unique and recognizable gestural form that emphasizes the human trace.
In 1997, Ritchie began a series of paintings and installations titled The Main Sequence, which aimed to represent visually a theory of everything through a fragmented narrative. Each painting in the series developed as part of an interactive game that attempted to summarize an entire field of knowledge, such as physics and biology, into a multi-layered and immersive story. The central question of The Main Sequence, whether any one person can see and represent the entire universe, evolved into projects and collaborations in film, theater, music, and architecture, working closely with physicists, musicians, architects, engineers, and theorists to explore the possibility of shared systems and aggregations in contexts as diverse as opera, contemporary music, architecture, horticulture, urban design, theology, and science, as well as frequently bridging the analog and digital worlds with interactive projects at ada-web, Eyebeam, SFMoMA and Rhizome.
Ritchie is also committed to ambitious public art projects that can project complex ideas into shared spaces. In Games of Chance and Skill (2002) a permanent installation commissioned by the Massachusetts Institute of Technology, Ritchie's works sprawl across three different surfaces habitually employed by the artist: opaque wall, translucent light panel, and transparent windows. A similar combination of media can be found in his most recent permanent work Everything That Rises Must Converge (2017) at Cornell Tech, which rises in a column of information over four floors. His multi-part installation The Hierarchy Problem (2003) incorporates a black latticework structure, a drawing in space, suspended above a colorful floor piece and flanked by light boxes, paintings and a large wall drawing. The Morning Line (2008) extends this concept of drawing in space to a vast series of tetrahedral architectural elements, which contain a collaborative interactive music and film database, while This Garden At This Hour (2014) integrates environmentally-scaled sculptures and over 10,000 plants to create a taxonomical and molecular garden.
Over the last several years, Ritchie also embarked on a project to chart a comprehensive visual history of the notational mark, or diagram. Divided into three parts, The Temptation of the Diagram, Surrender to the Diagram and The Demon in the Diagram, the ongoing project has thus far manifested in a series of paintings, performances, installations, and a publication that examines the influence on notational language on the systems and production of knowledge. Ritchie's newest body of work, Time Diagrams, an ambitious one-hundred part sequence of paintings, floor, wall and performance works, seeks to examine the structure and informational language of history, in the same way The Main Sequence examined the informational language and structure of space.
Matthew Ritchie's website: https://www.jamescohan.com/artists/matthew-ritchie
Photo Credits, L-R: Maria Baranova and Ryutaro Mishima