Archive for the ‘maya.rouvelle’ Category

maya + rouvelle’s figure ground (performance)

Thursday, January 12th, 2017

FIGURE GROUND is a movement and media work performed at Eden’s Expressway in SoHo NYC as part of movement research’s Open Performance Series. This video is documentation of its first performance.

The work is based on the Second Tableau (The Sacrifice) of the Joffrey Ballet/Millicent Hodson’s 1987 reconstruction of the “original” Nijinsky choreography/Roerich costume and set design for the 1913 Ballet Russe production of Le Sacre du Printemps.

At the core of this piece is a cyclical dynamic of transitioning figure and ground relationships. Ritual, sacrifice, mystery, earth, the heroic, politics of gender and technology, death and renewal are embodied by the integration, camouflaging, and collision of different musics, times, materials, cultural forms, and media.

Materials: original and found sound and video, paper, string, choreography and dance.

Found Video:
Festa Della Bruna

Les 100 ans du Sacre du Printemps par le théâtre Mariinski

My second best SuperHyperCube run, so far

US soldiers getting manicures

Len Lye’s Tusalava

Found Audio:
Beethoven Op. 132, Budapest Quartet

Stravinsky, Requiem Canticles

Burial, Come Down to Us (Hyperdub 2013)

Ambient music for Len Lye’s Tusalava by Andrew Pask

maya+rouvelle’s place and borrow

Tuesday, November 1st, 2016

Realized in a re-purposed bank in Detroit, Place and Borrow is an interactive performance work for actor and media. The piece was developed for G. Louise Cooper, who gave the performance and installed the work in the multidisciplinary art space Grand on River as part of MicroMacro Art Biome (catalogue pdf). The video was shot by Remi Slade-Caffarel.

The basic premise of the piece is that somehow, through the process of installing the exhibit, the formerly abandoned bank has woken up to find itself an art space. It channels its dual nature through a head teller/performer and attempts both to continue its business as a bank and performance venue. This is America, 2016.

The media includes bismuth, lead, paper, string, bio-plastic, a wireless, head-mounted camera, projector, and a remote control vehicle.

A detailed description of the piece, script, and other relevant materials can be found here.

Photos of the piece can be found here.

maya + rouvelle: dwelling

Tuesday, July 19th, 2016

original footage.

maya + rouvelle: “we need you”

Tuesday, July 19th, 2016

video: public domain archival footage
audio: former founding Executive Director and President of Creative Capital

maya + rouvelle: two daiquiris withdrew into a corner

Thursday, June 30th, 2016

Poetry: John Berryman reading (University of Iowa in 1968) Dream Song #16, excerpt, from 77 Dream Songs.

Henry’s pelt was put on sundry walls
where it did much resemble Henry and
them persons was delighted.
Especially his long & glowing tail
by all them was admired, and visitors.
They whistled: This is it!

Golden, whilst your frozen daiquiris
whir at midnight, gleams on you his fur
& silky & black.
Mission accomplished, pal.
My molten yellow & moonless bag,
drained, hangs at rest.

Collect in the cold depths barracuda. Ay,
in Sealdah Station some possessionless
children survive to die.
The Chinese communes hum. Two daiquiris
withdrew into a corner of the gorgeous room
and one told the other a lie.

Music: Ich bin der welt abhanden gekommen from Rückert-Lieder, Gustav Mahler | LUCERNE FESTIVAL ORCHESTRA | Claudio Abbado | Magdalena Kožena (mezzo-soprano)

Recorded August 2009 in Lucerne, Switzerland. Published by Euroarts on DVD and Blu-Ray.

Based on a text in German by Friedrich Rückert (1788-1866) , no title, from Liebesfrühling, in 4. Vierter Strauß. Wiedergewonnen, no. 29


I am lost to the world
with which I used to waste so much time,
It has heard nothing from me for so long
that it may very well believe that I am dead!

It is of no consequence to me
Whether it thinks me dead;
I cannot deny it,
for I really am dead to the world.

I am dead to the world’s tumult,
And I rest in a quiet realm!
I live alone in my heaven,
In my love and in my song!

[ The video is a composed of found footage from various sources ]

maya + rouvelle: wag

Thursday, June 23rd, 2016

Footage captured by Selina Doroshenko during a Maya + Rouvelle artist talk/performance at MICA’s Graduate Studios Salon in Baltimore. Audio: John Berryman reading Dream Song 14.

maya + rouvelle: colony…ellipsis

Tuesday, June 21st, 2016

maya + rouvelle: resownen w/lili maya

Monday, June 29th, 2015

prelude to installation/performance work for Stazione di Topolo, July 2015


maya + rouvelle: Pilchuck Glass School Residency Documentation

Monday, December 8th, 2014



click here for the complete set on Flickr

During our residency at Pilchuck Glass School, we expanded on work started at the Museum of Glass and we developed a series of new works involving sound making objects, printmaking and drawing. We gave two performances during our residency, and some of our printmaking was exhibited during November 2014 at the Pilchuck Glass School Exhibition Space. Additional documentation of our performances and print process are linked below.

Our sound work with glass involves the creation of shapes that can be bowed or struck to produce fundamental pitches and harmonics so that one instrument can sound more than one pitch. Working carefully with our expert gaffers, Manny Krakowski and Netty Blair, we were able to make several variations of vessel shapes that each produced a complex spectrum of tones. We were also able to develop methods of linking two or more objects on a rocking base so that two objects could be played simultaneously by one player and variations on timbre and attack through bowing, striking, rocking were possible.

For our performances we grouped objects in terms of their tunings and timbres making tuning changes (by reshaping, or filling vessels with water) where necessary to create a specific temperament. Once we created a temperament we improvised extensively with it and developed compositions for it. Our compositions are a mix of rehearsed sections/gestures connected by improvisation. While we usually decide how to start and end, the pieces are largely determined during the performance.

In both our sound and print work we used electro-magnet/neodymium magnet setups where the magnets moved in response to changes in the polarities of our electro-magnets that were triggered by fluctuations in the EMF of the space where they were.

As sound, the clinking/tapping of the magnets against glass added a percussive, chaotic element to our compositions; something that fueled our improvisations as the magnets never behaved the same way in each performance.

For the prints, we used the same set of circuitry, vessels and magnets, but as mark making elements. We set the magnets up on inked plates and let them roll until they were covered in ink and had left marks on the plates. We then made several prints with the plates, and then placed the electro-magnet setup on the prints’ surface in the same configuration and let the neodymium magnets deposit the ink they had previously gathered. Freshly inked magnets were also added in the process. As with the sound pieces, the electro-magnet’s polarity oscillates in response to changes in EMF around them.

Our drawings incorporate variations on the shapes of the goblet and the vessel, primary glassblowing forms that suggested to us the physiology of the inner ear. The drawings functioned as non-dimensional starting points for the development of our sculptural and sound making objects.

Our time at Pilchuck was special and we are grateful to the long list of wonderful people who made our experience so memorable including Tina Aufiero, Rebecca Arday, Jim Baker, Ben Wright, our gaffers Manny Krakowski and Netty Blair, our assistants Keunae Song and Anna Masowsky, Alex Gibson in the printshop, Rebekah Birkan, who constructed the amazing frame for the goblets from found metal in the Pilchuck metal shop and Zach Lorenzetti who made music with us and assisted behind the wheel!

maya + rouvelle: Electro-Magnet Print Process w/ Lili Maya

Wednesday, October 22nd, 2014

This is documentation of our electro-magnet/neodymium ball magnet setup that we use in our sound performances re-cast as a mark making element for a print project at the Pilchuck print studio.

We set the magnets up on an inked plate and let them roll until they were covered in ink and had left marks on the plate. We then made a print with that plate, and then placed the electro-magnet setup on the print’s surface, in the same configuration, and let the neodymium magnets deposit the ink they had previously gathered.

The magnetic field oscillates in response to changes in EMF.

The prints we made will be exhibited in Seattle during November.