{"id":22995,"date":"2015-07-16T17:19:08","date_gmt":"2015-07-16T15:19:08","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=22995"},"modified":"2015-07-16T17:19:08","modified_gmt":"2015-07-16T15:19:08","slug":"adam-linder","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/adam-linder\/","title":{"rendered":"One to Watch: Adam Linder"},"content":{"rendered":"

 <\/p>\n

\"Hammer Vexed Vista \/ Adam Linder copyright R. Etienne<\/p>\n

For the 2016\u00a0Hammer Biennial<\/a>, dancer\u00a0Adam Linder<\/a>\u00a0presented a three-man routine entitled “Kein Paradiso”. Over the course of the event, the choreographer received continuous praise for his success in\u00a0bringing increased\u00a0attention to the art of dance. Well, it appears the hard work is finally paying off, with Linder being announced as winner of this year’s Hammer Museum Mohn Award<\/a>. In a statement with the Los Angeles Times<\/a>\u00a0earlier this week, the artist calls the $100,000 win a “big deal” for the discipline, adding: “Dance is definitely not at the top of the disciplinary pinnacle in museums, but I think there is\u00a0a resurgent invitation into the visual arts and museological practice in the last decade.” <\/em><\/em><\/p>\n

Last year, Linder was featured as\u00a0One to Watch<\/a> for “Choreographic Service 2: Some Proximity”, a performance in which the choreographer\u00a0danced\u00a0for cash to provoke questions about art and money. Read more about it below.
\n<\/em><\/em><\/p>\n

\"Adam Portrait by David Gomez<\/p>\n

In the heart of the flurry of shopping and schmoozing that was last year\u2019s Frieze London art fair, Adam Linder, a Los Angeles and Berlin-based choreographer, presented his \u201cChoreographic Service 2: Some Proximity\u201d, a choreographed dance that raises questions about the social and economic conditions through which contemporary culture is produced. In Some Proximity, performed on an hourly \u2018for hire\u2019 basis, Linder and a second dancer directed each other in a series of movements while reading out loud a score written by a third collaborator, an art critic reflecting in near realtime on the events of the art fair. Within the stark white exhibition booth, the dancers, clad in utilitarian denim work suits, read and danced together in a performance that contrasted the virtuosity of their movements with the spontaneity and criticality of the spoken text.<\/p>\n

\"adam Adam Linder, Choreographic Service No.2, Some Proximity, 2014. Two dancers and a writer, duration variable, courtesy the choreographer and Silberkuppe, Berlin. Photo by Polly Brandon<\/p>\n

In light of the increasing inclusion of live performance within typically object-based art contexts, in recent years, Linder began to question the role of embodied movement within the circulation of art economies. Linder says, \u201cI started to think about choreography as a practice and as labour. What kind of conditions and economic exchange are necessary that differentiates it from an object-based economy?\u201d In questioning the underlying economic and social systems of the contemporary art world through the framework of embodied labour, Linder is in the lineage of artists for whom service-oriented actions form the basis of their work, such as the feminist Mierle Laderman Ukeles. By expanding on this critical history through the structures of choreography, Linder \u2013 who will present Some Proximity this summer in MOCA\u2019s performance programme, \u201cStep and Repeat\u201d \u2013 is reinvigorating and shifting how we think about the performing body as a site of history, knowledge and exchange.<\/p>\n

 
\nEntnommen aus <\/strong>Sleek #46 Contemporary Collaboration<\/strong><\/a>
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\n <\/p>","protected":false},"excerpt":{"rendered":"

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