Spring Program

Trisha Brown
Judith Sánchez Ruíz

Show
Two dancers with right leg up
Chorégraphes
Trisha Brown, Judith Sánchez Ruíz
Duration
100 min

In 2023, Dance Reflections by Van Cleef & Arpels is supporting the Trisha Brown Dance Company for the creation of a program presented at the Joyce Theatre, comprised of one performance by Judith Sánchez Ruíz and two works of Trisha Brown.

The Trisha Brown Dance Company returns with a program that pays homage to Brown’s collaborations with composer Alvin Curran. For M.G.: The Movie (1991) is a haunting memorial to Michel Guy, the French Minister of Culture and first director of the annual Festival d’Automne à Paris. The guiding principles for this choreography are enigma and time - not measured time - but the perception of time and its inconsistency. Also featuring Curran’s music is Brown's Rogues (2011). A poignant study in rhythm, timing, and kinesthetic transmission, the work marks a return to Brown’s exploration of unembellished physicality. In celebration of Brown's dynamic legacy, the company will also present its first commission. Let’s Talk About Bleeding, choreographed by Judith Sánchez Ruíz, under the musical direction of Adonis Gonzalez-Matos, performed by six dancers. Sánchez describes it as “a symphony of layers seeming to exist simultaneously…that make us question the arc of human existence.”

Photo : Rogues by Trisha Brown © Christopher Lindsay

Performers of Let’s Talk About Bleeding by Judith Sánchez Ruíz holding hands tightly
01 / 06 — Let’s Talk About Bleeding by Judith Sánchez Ruíz © Stephanie Berger
Three performers from Let’s Talk About Bleeding by Judith Sánchez Ruíz
02 / 06 — Let’s Talk About Bleeding by Judith Sánchez Ruíz © Stephanie Berger
Performers of Let’s Talk About Bleeding by Judith Sánchez Ruíz in movement
03 / 06 — Let’s Talk About Bleeding by Judith Sánchez Ruíz © Stephanie Berger
Three dancers on stage, the first one is sitting with his legs on the floor and one arm on his knee, the second one is leaning down, and the third one is standing from behind
04 / 06 — For M.G.: The Movie by Trisha Brown © Julieta Cervantes
Three dancers on stage in diagonal
05 / 06 — For M.G.: The Movie by Trisha Brown © Thomas Daskalakis
Two dancers leaning to the side with their right knee bent
06 / 06 — Rogues by Trisha Brown © Christopher Lindsay

Let’s Talk About Bleeding

Let’s Talk About Bleeding

by Judith Sánchez Ruíz

A distillation of Sánchez Ruíz’s storied 30-year international career in performance and choreography, this piece draws on a composite of her artwork and writing, and was created in collaboration with all artists involved. Sánchez Ruíz's dance pieces are existential in nature, and tend to layer their subjects structurally like geologic stratum. Of Let’s Talk About Bleeding, Sánchez Ruíz writes, “It is a symphony of layers, a meta-verse in which multiple universes collide, seeming to exist simultaneously, yet viewed in segments. The work intends to convey the notion of moving backwards in time, recreating realities that make us question the arc of human existence. Half the scenes are reversed, underscoring the idea of reversing time itself and deepening an understanding of being. It is an architectural orgasm of poetical constellations.”

A former Trisha Brown Dance Company dancer, Judith Sánchez Ruíz was chosen as the Company's first artist to receive a choreographic commission for her mastery of structured improvisation, as improvisation was central to Trisha Brown's work. Since the debut of ENCAJE, her acclaimed solo, in 2017, Sánchez Ruíz has been using dance "radial vocabularies," techniques that produce unexpected movements, creating channels of improvisation in each dancer. It is, she says, "an emancipation from within in the way we perform." She is also the author of a choreographic tool she calls "100 legs," based on the recognition that each part of the human body has its own innate intelligence; it encourages movement located at opposite points within the dancer's body, which generates kinetic tension. These very physical vocabularies are designed to offer insightful and meaningful narratives and cohesive structures.

For M.G.: The Movie

For M.G.: The Movie

by Trisha Brown

« For M.G.: The Movie, is the second piece in a cycle of work called "Back to Zero." What I mean by zero is the simple elemental actions of the body. I entered this cycle through vocabulary, seeking gesture and motion through subconscious impulses - as pure as possible, and unedited by the all-pervasive judgmental mind. One of the three basic phrases collaged in MG does achieve zero.

Michel Guy, the French Minister of culture (1974 - 1976) invited me to meet with him several times [and] we spoke of dance and art and his career and my career and where they intersect. The conversations would circle back and branch out… They seemed as if they were taking place outside of time, outside of the "what I already know." They lasted for hours. He had to adjust the blinds once or twice. I never knew what the meetings were about, and Michel died soon following.

My guiding principles in MG (which is for Michel Guy) were enigma, and time - not scientific time, but perception of time, and its inconsistency. »

-Trisha Brown

Photo : © Julieta Cervantes

Rogues

Rogues

by Trisha Brown

Rogues is a poignant study in rhythm, timing, and kinesthetic transmission. Accompanied by an original score by Alvin Curran, the duet’s simple form marks a return to Brown’s exploration of unembellished gesture and pedestrian physicality.

Photo : © Christopher Lindsay

About the artist

Black and white portrait of Trisha Brown dancing © Johan Elbers

Trisha Brown

In 2025, Dance Reflections by Van Cleef & Arpels presents in collaboration with Sadler's Wells Working Title by Trisha Brown in a double bill as part of the Dance Reflections by Van Cleef festival in London. 

Trisha Brown (1936-2017) is considered one of the most inventive and influential dancers and choreographers of the second half of the 20th century. Born and raised in Aberdeen, Washington, graduating from Mills College in Oakland, California, Brown studied with Anna Halprin before moving to New York City in 1961. In 1970, she formed her company and explored the terrain of her adoptive SoHo. In doing so, she embarked on a 40-year odyssey along the many paths of contemporary dance, marked by improvisation and experimentation, pushing back the limits of the body and incorporating unexpected urban and natural spaces (rooftops, walls, galleries, etc.).

She engaged collaborators who are themselves leaders in music, theater, and the visual arts, including visual artists Robert Rauschenberg, Donald Judd, and Elizabeth Murray, and musicians Laurie Anderson, John Cage, and Alvin Curran, to name a few. With these partners, Trisha Brown has created an exceptionally varied body of over 100 dance works that pushed the limits of choreography and changed modern dance forever. Brown is also an accomplished visual artist; her drawings have been seen in exhibitions, galleries and museums throughout the world. She is represented by Sikkema Jenkins & Co. in NYC.

Trisha Brown is the first woman choreographer to receive the coveted MacArthur Foundation Fellowship “Genius Award.” She has been awarded many other honors including five fellowships from the National Endowment for the Arts, the NY ‘Bessie’ Lifetime Achievement Award, the Dorothy and Lillian Gish Prize, and the Dance/USA Honors Award. She has been named a Veuve Clicquot Grande Dame, Commandeur dans l’Ordre des Arts et Lettres by the government of France.

Portrait of Judith Sánchez Ruíz

Judith Sánchez Ruíz

In 2023, Dance Reflections by Van Cleef & Arpels is supporting choreographer Judith Sánchez Ruíz for Let's Talk About Bleeding, a creation commissioned by the Trisha Brown Dance Company.

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