In this Dispatch, choreographers Jon Kinzel and Vicky Shick discuss collaboration in a time of distance and how their shared practice continues although their performance at Roulette has been postponed.
Jon Kinzel has presented his work, including numerous commissions and solo shows, in a variety of national and international venues. He has received support from foundations, fellowships, and residency programs, and served as a sound designer, dramaturg, and curator. Pacific Terminus, in part, stems from residencies held at Telematic Gallery in San Francisco, and the MacDowell Colony. He feels fortunate to have performed and collaborated with choreographers and artists across several disciplines, contributed to publications such as SCHIZM Magazine, MR Performance Journal, and PAJ: a journal of performance and art, and, to have taught at many institutions of higher learning, the Merce Cunningham Trust, Lincoln Center Education, and Movement Research.
Vicky Shick has been involved in the New York dance community for four decades. She was a member of the Trisha Brown Company and has been making dances since the late eighties. Shick has also created pieces with students at several universities, currently at Yale. In the NYC area she teaches mostly at Movement Research, for the Trisha Brown Company and for 15 years at Hunter College. She has taught internationally including in her home town, Budapest. Shick recently returned from a work-making residency in San Francisco at Margaret Jenkins Dance Lab. She was a two-time Movement Research Artist-In-Residence, two-time Bessie recipient, a grant recipient from the Foundation for Contemporary Arts, a Guggenheim Fellow and a DiP grantee at Gibney Dance Center.