Cynthia Dragoni 🪬

Check out my recent article in The Observer, exploring the validity—or vapidity—of dance in art spaces. Part performance review, part art world critique.

In a contemporary echo of the iconoclastic collaborations between Graham & Noguchi or Cunningham & Rauschenberg, dancer and choreographer @ingridsilva (Dance Theatre of Harlem) partners with visual artist @rosalindtallmadge . In Silva’s piece “Echoes on the Wall”, dancers weave through Tallmadge’s luminous installation “Pareidolia” at the gallery CARVALHO in Brooklyn.

Dance, being an ephemeral and notoriously difficult-to-commodify art form, is frequently misunderstood—and as a result, misused.

What is it that most get wrong about this equation? What makes THIS series so resonant?

CARVALHO’s series is a rarity in its support for the meaningful development of both choreographic and visual art work. It challenges the typical hierarchy of performance and fosters a visible, physical exchange between movement and visual form.

Read the full article at Observer.com (link in bio)

📸 📸 Incredible photos of Silva’s ECHOES ON THE WALL & Tallmadge’s PAREIDOLIA by @qwharton

@observer
@carvalhonewyork