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Felix Aart’s new choreography ‘Shadows on the Mind’
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Felix Aart’s new choreography ‘Shadows on the Mind’ to be performed as part of the solo exhibition ‘Running out of Thread’ by Constance Slaughter, July 1-July 11
Wed, Jul 1 - Sat, Jul 11 2015
FiveMyles - New York Consulate Region
Constance Slaughter invited Dutch choreographer and artist Felix Aarts to create a dance performance for her first solo show in New York ‘Running out of Thread‘. Aarts created ‘Shadows on the Mind’ that will be performed by the dancer Sarah Rodak, on a score extracted from Mozart’s first opera, Bastien und Bastienne from July 1 to July 11 at FiveMyles.
‘Running Out of Thread’ is Constance Slaughter’s first solo show in New York. Constance’s work is both playful and dark. Her light suspended sculptures, made from wire and semi-transparent fabric, hover and sway. The child-animal-toy figures are the characters of our half-remembered childhood games, songs and stories.
The exhibition opens on Wednesday July 1st. Opening reception 6-8pm.
Closing reception and performances on Saturday 11th July, 6:30pm and 7:30pm.
About Felix Aarts
Dutch artist Felix Aarts graduated from the Royal Conservatory in the Netherlands with a Bachelors in Ballet. He has been engaged by companies such as the State Opera Ballet Berlin, the Ballet du Rhin and the Leipzig Ballet, dancing many soloist roles and collaborating with international choreographers. In 2009 he joined the studio program at the Strykejernet Art School in Oslo, Norway. In 2013 he graduated from Pratt Institute Brooklyn, NY with an MFA in Painting. Felix Aarts has been working as a visual artist, choreographer, photographer and performer internationally.
“I create two and three dimensional works that deal with the issues of painting. In my work I am setting up a reality that seems at the first glance to confuse rather then to charm, but spent more time with, one can be attracted or distracted by it. I want to engage with painting in a way that has a value in the intellect yet leaving freedom for the childlike careless way of looking at painting without the burden of history. By placing myself in the uncomfortable position where what I create does not always correspond to my visual satisfaction, I am tapping into unknown territory where the mind and the eye seem to be in perfect harmony with the unbalanced reality.”