Writings

PRESENTERS

"The critics acclaim for GIMP speaks volumes about the artistic quality of the show.  However, as a presenter of GIMP in Boston I was equally moved by the audience and its response.  Made up equally of those who regularly attend dance events and those who had never before been to the ICA, they were uniformly and wildly enthusiastic.  At the end those who could, stood while others waved their arms high above their head in silent applause.  And the Q and A afterwards reflected the high level of intelligence, engagement, and inquisitiveness of the attendees.

Because of GIMP the ICA has many new friends, dance in Boston has an expanded audience, and everyone who attended has a newfound respect for the wonder of human expression."

David Henry
Curator / Director of Programs
The Institute of Contemporary Art/Boston
dhenry@icaboston.org

AGENTS

"Heidi Latsky makes unfailingly committed and interesting work with performers often characterized as "disabled" or "physically challenged." Euphemisms abound, as do unkind epithets. The very forthrightness with which she addresses the vocabulary question bespeaks the integrity with which she approaches the web of issues and attitudes surrounding her endeavor. The dialogue is further enriched by the fact that not only are the public's perceptions engaged, but also the self-image of the performers themselves. One could focus on the "social" component of the work, and there is little doubt that the enterprise is very worthy on that score. Debates about the social utility of art are endless and inconclusive. The work Heidi does, including her GIMP project, is of artistic interest and integrity. Something I once heard her say became a "Eureka" moment of revelation for me. She said, and I am paraphrasing, "I have long been interested in the dance possibilities of unexpected bodies." All of a sudden, her years of successful collaboration with the much admired (and rather heavy) Larry Goldhuber could be seen as of a piece with her work with "asymmetrical" performers. The work is about the Body and its expressive possibilities-the body in its astounding variety. The work forces our eyes and minds to perceive beauty not as a static artifact of conventional perfection but as a dynamic construct of effort and intentionality.

No, it doesn't always work. Almost nothing in contemporary dance always works. Sometimes a performer does not manage to break through the barrier of perceived defect. But often enough it does work, and we see immense beauty in unexpected places.

I love what Heidi does to my head."

Ivan Sygoda
Director of Pentacle
ivans@pentacle.org

CRITICS

"This piece is the first work of "mixed ability" dance I've seen that manages without wheelchairs, which puts all the performers on, as it were, a level playing field. The choreographer is not afraid to let our attention linger on a person with, say, only one arm; we find ourselves appreciating what that dancer can do, and the frankness with which she confronts us, rather than watching equipment roll around the stage."

Elizabeth Zimmer