Image: "Silver Venus" (2016) Photo: Francesca Chudnoff

Image: "Silver Venus" (2016) Photo: Francesca Chudnoff

About Andrea Spaziani

Andrea Spaziani has been making dances in Toronto for the past eleven years. She generates choreographic scores by moving and talking at the same time in a stream of improvisation. Her movements and words collapse into each other, asserting a new kind of attention that distorts the familiar, and challenges perception. Andrea has collaborated with artists across disciplines, and attended workshops and residencies internationally, most recently at HEIMA in Seyðisfjörður, Iceland.

In 2016 she produced SPACEBODIES II for the Transart Triennale in Berlin, Germany as an experiment in choreography as curation, and in 2017 she co-founded the artist lecture series Archaeology of the Frivolous with Allen Ferguson in Marfa, Texas.

Upcoming projects include Movement Research at the Judson Church, performance and video collaborations with Alicia Grant, and an exhibition with visual artist Morgan O’Hara in New York City in 2018.

Published texts include Nostalgia for the Hadron Collider (2012), (2014), Exiting, Re-Existing (2015), and Unbecoming Ego (2016).

She holds an MFA from The Transart Institute/ Plymouth University.

Andrea Spaziani's "Silver Venus"

"Untrammeled nature teems..." - Mark Roth

Created and performed with Irvin Chow, Alicia Grant, Julia Male, Claire Turner Reid, and Nicole Rose Bond

Music by Matt Smith

April 26 to 28, 2018 at 8 pm

Dancemakers Centre for Creation

9 Trinity Street, Theatre Studio 313

Toronto's Distillery Historic District

"After an amazing preview last season, we're proud to present this fascinating Andrea Spaziani''s newest group offering. Her work is typically fed by coiling thought patterns around central themes that can seem disparate but are connected by linkages made visible only choreographically. In "Silver Venus" she brings these themes to the forefront with the title: in a first viewing of the work, Andrea described working with the Venus as imagery as a way of "inserting ourselves into art history", while also "thinking about the activity of the colour silver". These two bits have me curious about the manifestation of the work: a group of individuals working on the same things at the same time in the same place, but not necessarily together; open invitations that show up as differences; mining presence from minuscule moments; a clump of dancers giving the effect of a packed school of small silver fish. A matrixial look on the art canon, an "interspecies reading of feminism". Andrea's curiosity is boundless and in her creative process she is capable of making a space that breeds that curiosity in others." Amelia Ehrhardt