S.F. gallery’s ‘Tenderhooks’ gets within the brain with blend of visual artwork, dance

Yoshiko Yap
Silas Riener dances between the works of Martha Friedman in “Tenterhooks” at the Jessica Silverman Gallery in San Francisco. Photograph: Jana Asenbrennerova / Distinctive to The Chronicle

The neuronal pathways, connective tissue and cells contained in the human brain established the phase for “Tenterhooks,” a two-day dance overall performance in discussion with a new visible artwork present at Jessica Silverman that opened Friday, May possibly 6.

Choreographer and dancer Silas Riener’s 40-moment perform took position amid artist Martha Friedman’s “Brain in Hand,” her initial solo exhibition at the San Francisco gallery. The art, on perspective by May well 28, takes inspiration from drawings of the human mind by 19th century Spanish neuroanatomist Santiago Ramón y Cajal.

“It’s fascinating to see people’s response before they know the work is impressed by neurology,” said gallerist Jessica Silverman. “There’s something persuasive about drawing what’s within of us that seems so stunning, but in our bodies feels so challenging.”

Friedman’s cast-rubber light-weight bins ended up made as a result of a method of manipulating liquid rubber and pigments till they settle into her wanted strains and designs. A sculptural installation consisting of 20 massive bands, made by the same rubber used in the gentle packing containers, are stretched on hooks from floor to ceiling and are at the heart of the effectiveness.

“My hope is that men and women see a form of liquidity inside (the get the job done) and that it reminds you of your system,” reported the 47-yr-previous artist. “There’s a natural beauty and vulnerability to this type of liquid entire body we’re in, and nonetheless, we practical experience it as a strong factor. I consider that also relates to the efficiency.”

Artist Martha Friedman applauds right after the dance functionality “Tenterhooks,” which showcases Friedman’s solo exhibition “Martha Friedman: Mind in Hand” at San Francisco’s Jessica Silverman Gallery. Picture: Jana Asenbrennerova / Specific to The Chronicle

“Tenterhooks” is the very first dance occasion Silverman has hosted in her Chinatown place, which opened final Could. About 40 persons ended up existing for the personal display, which also has two performances scheduled for Saturday, May 7.

Each currently dependent in New York, Friedman very first met Riener, 38, at Princeton University wherever she is a college member. The dancer arrived to the school as a agent of the Merce Cunningham Dance Company. When Riener was unable to use a get the job done by artist Robert Rauschenberg as a backdrop for his efficiency, Friedman was drafted to build a translucent rubber display. The two have been close collaborators in the ten years considering the fact that.

The system of constructing the dances begins in Friedman’s studio as she results in the mild boxes and other sculptures, and Riener responds to the is effective.

As the effectiveness began Friday night, Riener entered the gallery putting on a flesh-toned leotard that still left little to the creativeness, portion of the two artists’ curiosity in reversing the normal convention of male visible artists objectifying the bodies of woman dancers. He started off by strolling by means of the arrangement of rubber bands, testing his body weight from just about every. The elasticity of the bands allowed them to be stretched and pulled several toes right before Riener very carefully returned them to their starting off place.

Silas Riener performs among the the performs of Martha Friedman in “Tenterhooks” at Jessica Silverman Gallery in San Francisco. Photo: Jana Asenbrennerova / Particular to The Chronicle

Following unhooking the bands from the floor, he let them carry his overall body in the air. During the overall performance, Riener  twisted, braided and reassembled the bands into arrangements that he applied to climb up the wall, swing and bounce.

As Riener contorted the bands and his system inside of the formation, the effectiveness started to resemble the lines and shapes in Friedman’s gentle box photographs. With the get the job done “Floating Thought” hanging immediately to the left of the bands, the communion amongst dancer and graphic felt even more rapid.

He concluded the effectiveness again on the ground with the bands unhooked and floating from the ceiling, freely swinging.

“Martha and I approach choreography through improvisation,” Riener mentioned after the overall performance. “I have a highway map in my thoughts, I know what I’m striving to strike. Since of style and aesthetics there is a little wobbliness in the articulation of the choreography, but which is entirely intentional simply because of the unpredictability of the rubber, fatigue, the volume of sweat. It is a truly precise arc.”

People visit the solo exhibition “Martha Friedman: Mind in Hand” at San Francisco’s Jessica Silverman Gallery. Photograph: Jana Asenbrennerova / Special to The Chronicle

“Tenterhooks”: Noon and 3 p.m. Saturday, Might 7.

“Martha Friedman: Mind in Hand”: 10 a.m.-6 p.m. Tuesday-Saturday. On view by Might 28.

Jessica Silverman, 621 Grant Ave., S.F. 415-255-9508. jessicasilvermangallery.com

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Rufus Wainwright has a offered-out demonstrate in S.F. Saturday — unless of course the pandemic receives in the way

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