Fly in the soup reflects upon a series of issues tied to physical and political body awareness that have been the core subject of the XXI CSAV – Artists Research Laboratory. The workshop
Materials for Performance, directed by Annie Ratti and curated by Emanuela De Cecco, was led by Yvonne Rainer and Andrea Kleine during the month of July 2015 at the Fondazione Antonio Ratti in Como.
The book collects notes, lines, fragments, ideas, reflections, texts and images gathered and selected by: Harold Batista, Alexis Blake, Barbara Boiocchi, Mikaela Boxström, Eduardo Cachucho, Emanuela De Cecco, Giovanni Paolo Fedele, Cassandra Guan, Clara J:son Borg, Przemek Kaminski, Devos Klaas, Andrea Kleine, Emma La Morte, Luzie Meyer, Paulien Oltheten, Luna Paese, Amol Patil, Eshan Rafi,
Yvonne Rainer, Annie Ratti.
Published following the 21st edition of CSAV—Artists Research Laboratory, Fondazione Antonio Ratti, Como, from July 6-31st, 2015.
Andrea Kleine is a writer and performance artist whose work has spanned dance, theater, literature, and interdisciplinary projects. She is a five-time MacDowell Colony fellow and a New York Foundation for the Arts fellow. Her novel,
CALF (Counterpoint/Soft Skull Press) was released in October 2015. Her recent performance works include
MEMOIR (2010-ongoing), a piece performed remotely over video chat;
RATIONALITY (2011), a verbatim re-creation of a public access call-in philosophy TV show staged in her apartment; and
SCREENING ROOM, OR, THE RETURN OF ANDREA KLEINE (AS REVEALED THROUGH A RE-ENACTMENT OF A 1977 TELEVISION PROGRAM ABOUT A ‘LONG AND BAFFLING' FILM BY YVONNE RAINER (2014), commissioned by The Chocolate Factory Theater. Her critical writing has been published in
PAJ: a journal of performance and art,
Los Angeles Review of Books, and on her blog, “The Dancers Will Win”. She lives and works in New York City.
Dancer, choreographer, performer, filmmaker, and writer,
Yvonne Rainer (born 1934 in San Francisco, lives and works between California and New York) is a central figure in the history of the New York avant-garde. After studying with Martha Graham and Merce Cunningham, she created her first choreographies and founded the Judson Dance Theater together with other dancers. She started making short films, which she included in her performances, in 1967; she later turned to a cinema that put the accent on language, and showed a growing interest in theory. Her first feature-length films projected her to the forefront of independent cinema: ignoring narrative conventions, they question the place of the spectator and combine reality and fiction, dialogue and theoretical discourse, exploring social and political questions. Her most recent films reintegrate conventional narrative structures to address personal questions with political relevance.
