even*cleveland: merce cunningham

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leaps

Merce Cunningham dancing, photographed by Hazel Larsen Archer. Via MONDOBLOGO.

# 1404: Sandra Siviero © La casita de mis niños. Unquillo, Cordoba, Argentina. From Mrs. Deane.

Tile / Remodelista.

Merce Cunningham's 'Scenario'. 1997. Costumes by Rei Kawakubo. From ro/lu.

Boro / R4TH.

Acid Sweat Lodge.

Jean Cocteau: Les Enfants Terribles. From Stopping Off Place.

Piet Hein Eek.

Big shack on the beach in Uruguay / Materialicious.

Blue bottles in Edward Gorey's house / Inside.

suite by chance (space chart entrance and exit)

When I choreograph a piece by tossing pennies—by chance, that is—I am finding my resources in that play, which is not the product of my will, but which is an energy and a law which I too obey. Some people seem to think that it is inhuman and mechanistic to toss pennies in creating a dance instead of chewing the nails or beating the head against a wall or thumbing through old notebooks for ideas. But the feeling I have when I compose in this way is that I am in touch with a natural resource far greater than my own personal inventiveness could ever be, much more universally human than the particular habits of my own practice, and organically rising out of common pools of motor impulses.

Merce Cunningham, The Impermanent Art.

Above, his space chart for Suite by Chance, 1952. Ballpoint pen and pencil on colored graph paper. MoMA.

merce

Merce Cunningham, April 16, 1919 - July 26, 2009.

Photo taken at Black Mountain College 1953 by Frank Jones. Found in the North Carolina State Archives.

What sort of diary should I like mine to be? Something loose-knit and yet not slovenly, so elastic that it will embrace anything, solemn, slight or beautiful, that comes into my mind. I should like it to resemble some deep old desk or capacious hold-all, in which one flings a mass of odds and ends without looking them through. I should like to come back, after a year or two, and find that the collection had sorted itself and refined itself and coalesced, as such deposits so mysteriously do, into a mould, transparent enough to reflect the light of our life, and yet steady, tranquil compounds with the aloofness of a work of art. The main requisite, I think, on reading my old volumes, is not to play the part of a censor, but to write as the mood comes or of anything whatever; since I was curious to find how I went for things put in haphazard, and found the significance to lie where I never saw it at the time.

V. Woolf

Don't be amazed if you see my eyes always wandering. In fact, this is my way of reading, and it is only in this way that reading proves fruitful for me. If a book truly interests me, I cannot follow it for more than a few lines before my mind, having seized on a thought that the text suggests to it, or a feeling, or a question, or an image, goes off on a tangent and springs from thought to thought, from image to image, in an itinerary of reasonings and fantasies that I feel the need to pursue to the end, moving away from the book until I have lost sight of it. The stimulus of reading is indispensable to me, and of meaty reading, even if, of every book, I manage to read no more than a few pages. But those few pages already enclose for me whole universes, which I can never exhaust.

Italo Calvino

Why didn't she try collecting something? It didn't matter what. She would find it gave an interest to life, and there was no end to the little curiosities one could easily pick up.

Henry James

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