Join us for a somatic movement workshop led by dancer and educator David Leung in response to ideas of improvisation and instruction.
In this workshop, David Leung guides participants through somatic movement exercises based on the principles of dance, yoga, and qigong. Exploring ideas of movement and improvisation, Leung calls this workshop a “somatic journey of appreciation” for Mrinalini Mukherjee’s work, which is often described as “improvised” and “intuitive.”
This event is part of “mould the wing to match the photograph”, currently on view at AAA's library. The exhibition draws on the archive of Mrinalini Mukherjee, one of the most prominent sculptors in India, known for her experimentation with form and materiality over her forty-year practice. It stages an encounter between Pari (1986), the artist’s monumental hemp fibre sculpture, and archival materials with detailed installation instructions and extensive photographic documentation of Pari and similar works. The archival materials complicate the sculpture’s sense of organicity and intuitiveness, and demonstrate a desire for precision and control. The exhibition emphasises how the archive actively reconfigures the understanding and experience of Mukherjee’s work.
The workshop is limited to fourteen people from the age of fourteen on a first-come, first-served basis.
Free and open to the public with registration.
David Leung is a dancer and choreographer based in Hong Kong. He is a lecturer at the Hong Kong Academy for Performing Arts. He is also an educator for somatic movement workshops and facilitates contact improvisation practices locally and internationally. Leung is a co-founder of Contact Improvisation Hong Kong (CIHK), which promotes development of CI in Hong Kong as well as communication and exchange with CI communities worldwide. He firmly believes that dance plays a vital role in holistic education and healing.
"mould the wing to match the photograph" is generously supported by Mimi Brown & Alp Erçil, and Virginia & Wellington Yee. The Mrinalini Mukherjee Archive was made possible with the support of the Mrinalini Mukherjee Foundation and Godrej Seeds and Genetics Ltd. We would like to extend our gratitude to the Kiran Nadar Museum of Art, New Delhi, for loaning us Pari (1986) for this exhibition.
