The Residency Project

A photo documentary by Angela Jimenez

THE RESIDENCY PROJECT is the culmination of a year-long project where Angela Jimenez followed the artistic lives of BAX’s 2009/10 Artists In Residence. This photo documentary showcases candid glimpses into not-often-seen moments in the process of making and showing performance work and the people who make it.

luciana in rehearsal
luciana in rehearsal

“I was in rehearsal preparing for the open rehearsal on the next day. I had just had the idea of using my own hair as a mask over my face and was trying moving with it on. I was in a point in the process when I had done tons or improvising and was just beginning to feel a sense of crystalization of the material that would later become the content of the piece.”
— luciana achugar

BAX Artist-in-Residence luciana achugar in rehearsal at The Brooklyn Arts Exchange in Brooklyn, New York on November 10, 2009.

Victoria in rehearsal
Victoria in rehearsal

“Rehearsal for GIRL MEAT. Hoping my dress doesn’t rip and that I can remember my lines. I was initially wobbling in and out of my Hungarian accent. But, feeling the thrill of taking on this intense role.”

— Victoria Libertore

BAX Artist-in-Residence Victoria Libertore rehearsal at The Brooklyn Arts Exchange in Brooklyn, New York on November 13, 2009.

Jennie in rehearsal
Jennie in rehearsal

“This is me turning a corner in ‘hill phrase’, one of the dances in LANDS AND PEOPLES. ‘Hill phrase’ was constructed with movement that traced a topography based on peaks and valleys; we danced it in a simple canon and inside it felt dramatic.”

— Jennie MaryTai Liu

BAX Artist-in-Residence Jennie MaryTai Liu rehearsal at The Brooklyn Arts Exchange in Brooklyn, New York on January 14, 2010.

Jennie with Sean
Jennie with Sean

“Sean and I are here waiting out a less than inspired moment, trying to solve some flow-related problem. ”

— Jennie MaryTai Liu

BAX Artist-in-Residence Jennie MaryTai Liu rehearsal at The Brooklyn Arts Exchange in Brooklyn, New York on January 14, 2010.

Abigail in rehearsal
Abigail in rehearsal

“This is in a rehearsal in January 2010, with Marisa Lark Wallin (performer) and Kevin Hourigan (rehearsal assistant). This was at a time when this section of THANGKS FOR NOTHIN was still very much in our brains, and we couldn’t quite perform it virtuosically and it was very frustrating. We were consulting the script here because we were adding in a series of cues that we worked our tails off learning, and then eventually scrapped.”

– Abigail Browde

Marya, luciana and Mahalchick
Marya, luciana and Mahalchick

“There are few things that feel more like a knowing family than the rehearsal studio. Moments of laughter are a big part of it. We were about to welcome people to see the Open Studio Showing, and were trying to get settled too.”

– Marya Warshaw

luciana talking
luciana talking

“This was during the feedback part of the Open Studio Showing, it was the moment in the process when one feels like there is barely anything there to even show and then all of a sudden you are having a full discussion about the work and the ideas surrounding it. I like the look in Mahalchick’s face because it feels like it reveals the sense of depth in our collaborative process and because that was the moment when the seed of what was to become PURO DESEO started.”

– luciana achugar

Victoria within audience
Victoria within audience

“I am successfully scaring the shit out of my good friend, Jennifer Russell, while some of my favorite people watch. This historical figure provided such a wonderful challenge for me to not ‘play’ to the audience for laughs and approval.”

– Victoria Libertore

Victoria with audience
Victoria with audience

“I love meeting with the audience after any show. It’s not just that I am looking for compliments: I crave the connection. Here, Jennifer and I laughing and releasing our intense moment (of me threatening to kill her in GIRL MEAT). Director Rosalie Purvis behind me.”

– Victoria Libertore

Abigail backstage
Abigail backstage

“Waiting to make entrance for THANGKS FOR NOTHIN. Even though this is an in-progress showing, this is fierce stage fright that gets worse with age.”

— Abigail Browde

Abigail in performance
Abigail in performance

“One of the benefits and challenges of this show was leaving the lights on, so we were looking people in the eye. We were watching them as much as they were watching us.”

 Abigail Browde

three artists in meeting
three artists in meeting

“I always found meetings to be energizing and encouraging — a great source of advice and motivation.”

– Abigail Browde

Abigail sad in meeting
Abigail sad in meeting

“I look miserable because I was. This was at a point in the process of the piece I was making where I felt paralyzed and terrified. Support from Marya and the other AIR’s no doubt helped me over and THROUGH this rocky part.”

– Abigail Browde

Jennie in performance
Jennie in performance

“In a section about peevish violence, Sean is about to pick me up by the ears and swing me around by my ponytail, actions based on a section of one of our source texts, which describes the maiming of one king’s whole pack of horses by another. We are practicing telegraphing pain. Why can violence be so much fun to perform?”

– Jennie MaryTai Liu

Victoria in performance
Victoria in performance

“Me as Countess Elizabeth Bathory (allegedly the most prolific female killer in history) in her full glory. This photo scares me. Look at that face in the mirror. There were nights of the performance of GIRL MEAT that I looked in the mirror and did not see my own eyes looking back.”

 Victoria Libertore

 

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All photographs are for sale, unframed, editions 1/10.
Please contact angelajime@gmail.com for more information.