When technology learns to see – Wayne McGregor: Infinite Bodies
The true subject of Infinite Bodies is not technology but seeing itself. AI is not only creating art; it is learning to see
The true subject of Infinite Bodies is not technology but seeing itself. AI is not only creating art; it is learning to see
Movement is precise, the ensemble formidable. Hair lashes through the air, sound rises from the floor, drums and chanting mix with the dry friction of sand
When Marianela Nuñez stepped on stage, it was instantly clear that she was not pretending to be Lise, she was Lise.
He does not speak so much as perform. His body moves faster than his words, revealing that his mind is running at least ten thoughts at once
As entertainment, Like Water for Chocolate succeeds. It is a rich, magical, exotic tragedy. But in terms of substance, it remains at the surface.
Picasso bent women with a brush. Holbein crushed ambassadors with a skull. Cherkaoui piles his house with dancers, books, frames, bones.
From the outset the piece establishes a dissonant texture, as if pulling the audience into the fissure of a dream
Swedish minimalism brushed against Colombian carnival, French surrealism met British street energy, children’s laughter cut through adult abstraction.
A collaborative exploration of fragmented narratives and contemporary desires, it unfolded as a deliberately fractured whole across multiple spaces
McOnie’s dance drives the production, with sweeping ensemble sections, duets, and shifting formations that dazzle the eye.
Even during the most intense emotional sequences, Peck danced with control, intention, and above all, presence.