Ginger Krebs: choreographer and visual artist

All We Can See from Here

All We Can See from Here proposes a ritual of interdependence. Four dancers build a succession of symmetrical, interlocking “shelters” with their bodies. A geometric diagram on the ground designates the performance’s zone of operations, where resources are equally distributed, and everyone has committed to stay and “work it out”. When symmetry is broken, the team ceremonially re-calibrates to restore equilibrium.

The performers communicate through physical contact and use each other for leverage, resisting and relying on each other with the matter-of-fact intimacy of litter mates. Yet the hypnotic patterns they create suggest computer-generated optical illusions, especially when seen from above. Viewers of All We Can See… choose to look directly at what’s happening in front of them, or on their phones, at an aerial view of the action. Separating the perception of visual pattern (most apparent in the aerial view) from the perception of shared weight (most apparent in the ground-level view), encourages distinct visual and visceral experiences of the dance. The aerial point of view, introduced by a drone at the start of the show, establishes the performance area as a space of seeing – a space that’s being actively monitored, and the dance that follows can be understood as a response to this fundamental condition of exposure.

Surveillance technologies like facial recognition software use edge detection to identify their targets. By complicating the edges of individual bodies, through cooperative, interlocking structures and pattern blocked costumes, the human performers exercise their power to make themselves invisible. Code and legibility similarly weave throughout the sound score. Chirps incrementally organize themselves into sine wave speech, which in one moment becomes recognizable as Facebook’s privacy statement.

The performance features collaborators Kennedy Alexandria, Andy Slavin, and Lauren Kunath (dance), Joseph Kramer (sound), Sky Cubacub (costumes), and Justin Lynk (drone flight and aerial camera).

Listen to an interview with Sharon Hoyer and Ginger Krebs discussing the project on the Means of Production podcast. (beginning at 27:15)

See documentation of the entire November performance at Steppenwolf.

The project has been supported by The City of Chicago's Department of Cultural Affairs and Special Events, the Illinois Arts Council, a Bogliasco Foundation Fellowship, and High Concept Labs in Joint Residency with the Monira Foundation at Mana Contemporary.

Make your tax deductable donation to support Ginger Krebs Performance Project.