Dance

Mommy Hookers, Making Out and More Performance

Written By ArtBurst Team
January 15, 2016 at 6:47 PM

The second annual Miami Performance International Festival, presented by Edge Zones and curated by Charo Oquet that runs through the month, proves that performance art is still the wild and unruly beast that it should be. Miami-based artists, including Belaxis Buil, David Rohn, Octavio Campos, Pioneer Winter and Benoit Izard among others, showcase work that provokes, challenges and enriches Miami’s zeitgeist through highly stylized and sexualized content. Buil’s “Ultimate High” (June 26) tiptoes around the concepts of greed, beauty, consumption, psychology, time and space. It is a performance that “masquerades as a room with evidence of what could be the preparation of a party. In the room stands a body wearing sagging clothes (or is it sagging skin?).” Buil is left to decide for herself what to do next with her seemingly unattainable yet relentless quest for perfection — a quest that forces Buil’s character to confront happiness and/or death. As Buil’s character seeks perfection, trans-disciplinary artist Octavio Campos’ “HypNO TechNO” introduces Mommy Hooker, the self-proclaimed buffoon in a dance theater bodysuit. Mommy Hooker subverts the very notion of perfection and forms her (or his) persona from the psychological madness of Freud’s most severe therapies. Unfortunately, or fortunately, these therapies distort Mommy’s grip on reality. “HypNO TechNO” is an experiment that is part of a larger solo work that Campos will debut this fall as part of the Synapse Performance Project. One of the hallmarks of the Miami Performance International Festival is the collaborative spirit that exists between the artists. The first week of the festival featured “Affordable Care” by David Rohn, which examined the role healthcare plays in the lives of the aging. The performance featured two other artists, dancer and choreographer Carlota Pradera and performance artist Danilo de la Torre. During the final week of the festival, this spirit of collaboration continues with “Kissers” and “Time Saliva,” both featuring a cameo by fellow performer Campos. In Pioneer Winter’s “Timed Saliva,” Winter and Campos will make out on stage while Patti Hernandez fluffs Winter. Winter plays a ‘straight’ prostitute whose actions reveal the phenomenon of gay-for-pay, ageism in the gay world and the gay adult entertainment industry as the machine that perpetuates this dysfunctional system. In “Kissers,” Izard has devised a performance in which two men (Izard and Campos) are sealed in a kissing position by a double head mask. “They stay kissing and hugging for the whole length of the piece,” says Izard. “What is happening is an extremely strong pole of attraction. Who are these kissers? They are enclosed so they become their own center of gravity.” At its very core, Izard’s piece forces the question: how much love can we take and where does that leave us? The festival promises “cross-disciplinary, collaborative work that speaks to the high level of innovation, critical thinking, and social engagement in Miami.” The festival concludes June 30with the majority of performances scheduled between June 26 and June 30 in the Miami Design District and Miami Beach Botanical Garden. For information and a schedule of performances visit www.miamiperformancefestival.org/Program_13/Program_13.html; www.edgezones.org. A version of this story appears on the Huffington Post

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