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About The Artists

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Meg Foley // Choreographer and Project Director
Kristel Baldoz // Collaborator
Marysia Stokłosa // Collaborator
Annie Wilson // Collaborator
Marissa Perel // Exhibition Curator
Jeanine Durning // Project Facilitator
Thomas Choinacky // Project Manager

Meg Foley is a Philadelphia-based performer, choreographer, and director of moving
parts, the name she ascribes to her various dance- and performance-based actions that explore the materiality of dance and physical identity as form. moving parts focuses on making dances for which the meaning is revealed through and derived from the particular process of building them and questions of embodied reality are at the center. Her work has been presented locally by the Philadelphia FringeArts Festival, Bowerbird, and Vox Populi gallery, and beyond in Movement Research at the Judson Church (NYC), Abrons Arts Center (NYC), CATCH! (NYC), the Badass Dance Fun Festival (Toronto), Summerworks Festival (Toronto), and at the Centre for Contemporary Art Ujazdowski Castle (Warsaw.)

Her research has been supported by the Pew Center for Arts and Heritage, the Independence Foundation, and through a 2013 Stary Browar Cultural Exchange Residency (Poland). She is creative co-director of The Whole Shebang, an interdisciplinary arts space and studio in South Philly that hosts workshops and classes and provides studio rental to artists at affordable rates. She is the first dance artist member of Vox Populi Gallery in Philadelphia and was a founding member of Mascher Space Cooperative in 2005. She currently dances for Susan Rethorst. As an educator, she teaches at University of the Arts in Philadelphia and Bryn Mawr College, as well as for professionals locally and abroad.
movingpartsdance.org
thewholeshebangphilly.com

Kristel Faye Baldoz is originally from Delano, CA--a city known for the Delano grape strike led by the United Farm Workers. She started dancing at a studio located near the table grape fields where her dad worked. Kristel received her B.A. in Dance, Theater and Performance Studies from UC Berkeley. She performs with Philly-based choreographer, Greg Holt, and works at the University of the Arts, where she has assisted in courses for Eiko Otake, Jennifer McGinn and Beth Gill.

Maria (Marysia) Stoklosa - Choreographer and dancer. Studied choreography at the School of New Dance Development in Amsterdam and contemporary dance at the London Contemporary Dance School at The Place in London. Since 2008 she works and lives in Warsaw, Poland.

Her main choreographic work includes: Ecdyis, Intercontinental, The Right Hemisphere and Vacuum, presented in Poland, Germany, Austria, The Netherlands, Russia and USA. In 2015 she made choreography for Pawel Mykietyn’s opera The Magic Mountain. She participated in a project called MaMa Perform, which delt with issues of motherhood and was created with and performed by mothers under Maria’s artistic direction. She also collaborated with her father, composer Janusz Stoklosa, on a concert Let’s Dance Chopin - a piece for symphonic orchestra and dancers presented at the Expo 2010 in Shanghai.

Marysia worked as a dancer for Berlin based choreographer Jeremy Wade touring his Glory and And pulled out their hair…worldwide between 2006 and 2008. She also danced in Project Zero Point by Sara Shelton Mann and Die Zauberflote with choreography by Min Tanaka; amongst others.

She leads the Burdag Foundation and creates new opportunities for experimental dance in Poland such as Studio Burdag in Masurian Lakes (www.burdagstudio.com) and most recently Center in Motion – an artist-run working space and a collective of independent choreographers in Warsaw. In 2014 she became a leader of the Program Board at the Institute of Music and Dance (IMIT).

http://centrumwruchu.pl/maria-stoklosa-2/
http://www.marysiastoklosa.com/

Annie Wilson is Annie Wilson makes performances in order to practice survival. The body is the beginning and end of everything. She’s been making work in Philly for a decade, mostly at the radical, magical venue Mascher Space Cooperative. Her work has been presented by JACK, thirdbird, the Center for Performance Research, Mascher, , and FringeArts. What work, you ask? Most recently, Lovertits, considered a “runaway 2014 Fringe hit” was presented by Bryn Mawr College and JACK. There others, including upcoming At Home with the Humorless Bastard. She is a 2015 Independence Foundation Fellow, mentioned in “Three Philly Performance Artists You Need to Know” by LiveGoodFast, Rocky award winner (thank you Shannon Murphy!), and “Top 25 Dancers of 2012” by Philadelphia Dance Journal. She is the producer of The Remix Festival, a graduate of Artists U, and writes for Thinking Dance. Some, but not all of artists she has had the honor of working with include: Mary Tuomanen/Kimmel Center, Nichole Canuso Dance Company, Applied Mechanics, Lucinda Childs, Headlong, Zornitsa Stoyanova, and . She bartends Sunday nights at Lucky 13 Pub in South Philly and is assistant property manager at Simpson Mid-town. www.theanniewilson.com

Marissa Perel is an artist and writer based in New York. Her interdisciplinary work includes performance, installation, criticism and curatorial projects. She often uses collaboration as a platform for the exchange of disciplines, working methods and discourses with choreographers, composers and visual artists. She is interested in drawing from the polemics of identity and representation to create compositional models for performance and installation. She orchestrates an immersive world where text, objects, dance and video transmit experiences of personal and societal conflicts. Her materials are cathected objects, cues that connect an immediate physical and psychic state to past events. Her work has been shown at numerous galleries, theaters and performance spaces in the U.S. and abroad.

Perel asks, “How do we move across space and time with respect to our collected histories?” Her essays, reviews, experimental prose and interviews engage this question at the convergence of the fields of contemporary art and performance. She originated the column, “Gimme Shelter: Performance Now” for Art21 Magazine and edited Critical Correspondence, the on-line dance and performance journal of Movement Research. She also pursues this question in her curatorial work, seeking to bring visibility to a multitude of forms and discourses. She has curated performances, panels and talks at such venues as the New Museum, New York Live Arts and at the Aux Performance Space at Vox Populi where she recently served as Curatorial Fellow.

Jeanine Durning is a choreographer, performer, and teacher from New York, creating solo and group works since 1998. Her research is grounded in choreography as ontological inquiry – exploring questions of who we are, the nature of perception and relation, and the slippery terrain of invented narratives of self and other.
Durning’s current research deals with a practice she calls nonstopping which she began to develop in 2009 and which has manifested as a solo performance practice of nonstop speaking called inging (2010) and a group performance practice of nonstop moving called To Being (2015). She has received numerous awards and residencies in support of her work, including a New York Foundation for the Arts award and the Alpert Award for Choreography.

Durning has a dedicated teaching practice and has been faculty at SNDO/Amsterdam and HZT/Berlin on and off since 2009. She was current guest faculty at New School/Lang College and teaches often through Movement Research in NYC, as well as acted as “outside eye” to many choreographers’ works. She has been commissioned to create original work and since 2002 has created over fifteen works for companies, performers, and institutions across the US and in Europe.

As a performer, Jeanine has had the privilege over the years to collaborate with many choreographers of diverse creative concerns and priorities including Susan Rethorst, David Dorfman, Lance Gries, Chris Yon, Zvi Gotheiner, Martha Clarke, Richard Siegal, and Bebe Miller. Since 2005, Durning has worked on and off with choreographer Deborah Hay in the capacities of performer, choreographic assistant and most recently, from 2011-2013, as consultant to the Motion Bank, conceived by William Forsythe, on Ms. Hay’s choreographic and scoring practices.

Thomas Choinacky is a performance artist who finds equal expression in the creation of new performance and in organizing the convening of artists and audiences around ideas. His term for his work as artist includes creator, producer, and organizer. Currently his solo A User’s Manual merges the relationship of architecture and movement and will be presented at the Capital Fringe in DC in the Summer of 2016. Thomas has been the grantee of 1812 Productions’ Jilline Ringle Solo Performance Program for his one man show Thomas is Titanic and has been awarded artist residencies at Kultuuritehas Polymer in Tallinn, Estonia and at Elsewhere in Greensboro, NC. His interest in the use of time in performance has led to Magnitude (a nine-hour long performance viewable through a peephole) and Substance (staged throughout his South Philly apartment).

He founded SoLow Festival, an annual 11-day performance festival and is a company member of the experimental theatre collective Applied Mechanics. He worked with Headlong Dance Theater for over four years as a Programs and then as Managing Director. thomaschoinacky.com