Tag Archive: Miriam Aziz


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Corner of E 22nd and Broadway, NYC, November 26, 2012

Posted on November 26, 2012

Aziz_26112012I meet up with Kalypso near the Flatiron building which is where I was standing that monday afternoon when I was early and we had not yet spoken about her pilgrimage to Disneyland. As I stood looking up at the 8th wonder of this world a cop walks past me, slows down, looks up, and then turns to me and says, “I thought someone was about to jump.” We chuckle a little nervously and I tell him that I never actually took the time to study at the building and he stands with me for a moment and strains his neck and says something like, “You’re right, there are details there, in the stone, that I never saw before.” We shake hands, and I turn to catch the eye of the Empire State building that I am saving for later, as I remember asking B. what it was like to go right up to the top and he said, “It’s high.” Another one of his Haikus for something that I play pretend to understand. We sit, Kalypso and I in a restaurant nearby afterwards and we speak about the time she saw Barbara’s last concert in Paris and when everyone started to sing after she left the stage, “Dis, quand reviendras-tu?” as we shiver in the presence of what Robert would summarise thus: alors ça, c’est du serieux.

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Corner of East 49th and 3rd Avenue, NYC, November 23, 2012

Posted on November 23, 2012

Aziz_23112012We’re gathered here today to commemorate the time I went to Smith & Wollensky‘s and ate crab cakes instead of the 1st amendment duty to conquer a steak with fries and a desert that will have you occupying your nearest gym from here to the weigh in at the gym called kingdom of eternity with elliptical trainers in abundance. It was a working dinner which was creased into airplanes of laughter that we threw around midtown afterwards once we got past trading horses that have long since bolted to the new pastures of time shares in Majorca, Florida, Shanghai who knows. But it’s the thought that counts as we speak of jobs that we both know no longer exist, but we talk as though it was only yesterday in that happier hunting ground called the Eurozone that someone said, “Now Hiring”.

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Corner of Rue du Navarin et Rue des Martyrs, Paris, France, November 19, 2012

Posted on November 19, 2012

Aziz_19112012Rendez vous at the Hôtel Amour in the 9th for a working breakfast that passes without incident but for the fact that I confuse Chile with Argentina as we speak about the rule of law as games of hide and seek. P. just in from Buenos Aires talks about a law paper that I am feigning interest in as ever since he mentioned the tango performance he saw, my attention is a disordered disarray of trade deficits. All work and what’s with the no-play date that this week turned out to be? Paris? City of Lights and Je ne regrette rien? I start to stifle a giggle that I disguise as a yawn, hoping that even though I have been here for a week, I can still get away with that wonderful excuse called jet lag or décalage horaire. P. starts to explain how to get to Charles de Gaulle airport and I could not care less as I am thinking, maybe I’ll just get a cab…you know, just stride out onto the street and stick my arm out as the understudy to the Empress of the Upper East Side. P. looks terrified and says that I will be ruined if I get caught up in les embouteillages and so I follow his precise instructions and somewhere in some metro station between here and there, I come across a group of garulous Russian musicians, all 20 of them, playing music that try as I might, I could never live up to. But gladly would I face that music and dance, only too happy to oblige. But that was before Sasha, that hiatus time of intransigent insouciance before the brutal before my first coffee awakening one monday morning weeks later when he picked me up to take me to a dental appointment to remind me of how a man must – not may – accompany a woman. As Sasha drives off, abandoning me to the sorry state of affairs that will compose the rest of my life après Sasha at the corner of Park and 57th Street, I realise, that we will never always have Paris, this Russian cab driver and I. And you can look that story up by author, title, genre, whatever it takes, it’s all the same: Tragedy.

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Corner of Ave du Maine et Rue des Plantes, November 13, 2012

Posted on November 13, 2012

Mirian Aziz 13 November 2012
This was Paris, in time for a late breakfast at Chez Félicie opposite the square where I saw the carousel that was a separated at birth identical twin to the one I used to frequent at the Place Wiener in Brussels. What I remember then which is as I live, momentarily now, and not as previously seen in New York but 24 hours earlier, is the common sense to take time, to read, to write, to glance and to linger as the first and the last thing that the day delivers. I sat here three years ago on my way to New York and now it seems that I have returned to ask myself the same question: New York, New York? Though it is similar, we are not the same as the opening line of today’s paper reminds us: La fin de la période d’essai. We are neither and no longer the understudy nor the apprentice. The name of the paper? Libération.

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Corner of Union Street and 4th Avenue, Brooklyn, November 10, 2012

Posted on November 10, 2012

As you know, the aftermath of Hurricane Sandy will be a long process of reconstruction. Spare a thought, or better yet, a dollar or two or several…Communities of artists have been incredibly supportive and proactive in organising benefit concerts and happenings across the five boroughs of New York. We had a great turn out at the Remix Festival yesterday at the Brooklyn Lyceum, where I was moderating a panel on Literature and Remix with Jonathan Ames, Eduardo Navas, Ed Champion, and McKenzie Wark. The Lyceum was affected by the Hurricane and so we had little by way of heating and light, but we persevered and had a great discussion on Literature, Copyright and Fair Use anyway!

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Corner of W 37th Street and 10th Avenue, NYC, October 20, 2012

Posted on October 20, 2012

Artist (s) at Large premiered Lost for Words as featured artists as part of the multi-media salon concert series produced NYsoundCircuit at Mary Flagler Cary Hall, the DiMenna Center for Classical Music on October 20th, 2012. Check out the slideshow ! TracyoutThere opened a champagne bottle during the second act, and handed me a glass whilst we continued to perform and I toasted New York, New York, this city which, as Gerry says, makes you do things you have never done before – a place where you outdo and outlive that postage stamp version of yourself that, if left unattended, shrinks to fit.
Photo Credit: Lena Adasheva

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Corner of W 37th Street and 10th Avenue, NYC, October 31, 2012

Posted on October 31, 2012

In some parts of this city, many street corners are now underwater. There are power cuts, though thankfully not in this neighbourhood. Here, it is almost business as usual, but actually not really. The subway is out. The park is closed. One minute, there was no traffic, now there is all traffic. Some shops are starting to open. It’s difficult to find fresh bread. There are long queues to buy coffee. Yesterday, the sirens were on a loop; they were so insistent that after a while, I forgot to notice. People in my building are suddenly friendly. Not that they were unfriendly before but the fact that we’ve suddenly stopped playing who’s afraid of the invisible man? makes me flinch. The trees in the garden have recovered from their all nighter limbo dance. There are text messages and emails from friends to stay in touch. The guy upstairs from Ohio is writing a novel. We stood outside and smoked as the wind started to rise on monday night, or was it sunday, wait what day is this? The wine shop was open the day of and the day after the hurricane. There’s a discount on Spanish wine. During the storm, I yearned for a margherita. Now, not so much. The television has been on as sparingly as I can manage, though it is a little hypnotic. On the night in question, I switched it off, I blocked out the windows with pillows and sheets and played guitar as I wove lyrics into songs with titles like “High Tide” and “Landfall.” That’s the curious thing about all of this; once the curfew kicked in for last orders to get provisions, once the subway shut down, once the buses stopped running and the tunnels and bridges started to close, a sense of calm descended. As I played song after song, I realised, but it was the next day by then, there was no other place I’d rather be in this moment, and I was doing what invariably makes sense in times of crisis: keep calm and sing some songs.

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Corner of W 37th Street and 10th Avenue, NYC, October 1, 2012

Posted on September 30, 2012

The Artist(s) at Large are Lost Words by Miriam Aziz

The Artist(s) at Large are Lost Words by Miriam Aziz


Miriam Aziz and Artist (s) at Large premiere Lost for Words as featured artists as part of the multi-media salon concert series produced by NYsoundCircuit at Mary Flagler Cary Hall, the DiMenna Center for Classical Music, – home of the Orchestra of St Lukes. Dancers, musicians and other invited artists curate the search for movement and gestures that may, if not replace words, co-exist with them, and perhaps even surpass them.

Lost for Words is the culmination of the Artist(s) at Large performance lab founded by Miriam Aziz in 2011 and directed and choreographed by her. A new creative platform, dancers experimented with music and movement in rehearsal studios at the Baryshnikov Arts Center in New York in order to develop exercises in communication through music, dance, theatre and film. Every session was filmed and was edited into an on-line Video archive called Were you with Me? which was designed to encourage discussion of the experience of being speechless. The result, Lost for Words, is a play on words where the listener is invited to participate in the art of story-telling.

“I composed the music for Lost for Words through movement,” remarked Aziz. “I worked with members of Artist (s) at Large as I created choreography and mis-en-scènes. It was thrilling if a little unsettling at times as I was not used to composing music this way, that is to say, through and with the body and not before it or simply as though it did not exist. I started to think about whether it was possible to co-ordinate different dimensions of communication not only as a part of a Gesamtkunstwerk but as a way of rethinking of what counts as testimony.” In all her work, Aziz’s past scholarship and experience as a lawyer has been concerned with how rules of law and etiquette frame the way we communicate, particularly in the face and aftermath of human rights violations. Lost for Words is also part of a research project which has been developed at Cardozo Law School, where Miriam Aziz is currently a visiting scholar.

Miriam Aziz and Artist (s) at Large premiere Lost for Words as part of NYsoundCircuit, a multi-media salon concert series at Mary Flagler Cary Hall at the DiMenna Center, New York – 450 W 37th Street, Saturday October 20, 2012, The show will begin at 8pm. Admission is$10.

Music and Mis-en-scène by Miriam Aziz. It is performed by:

Dancers: Mariliana Arvelo, Miriam Aziz, Jamie Chandler, Sarah Eyde, Bethania Rivera, Cedric Todd.

Musicians: William Catanzaro, percussion; Pablo Masis trumpet.

Videographer: Jimmy Ferguson

For further information see: http://miriamaziz.wordpress.com/

Photograph courtesy of Stefano de Luigi

Support for this performance was made possible by subsidized rehearsal space at the Baryshnikov Arts Center by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

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Corner of where were and where are we? NYC, September 1, 2012
Posted on September 1, 2012

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Corner of W 37th Street and 10th Avenue, NYC, July 13, 2012
Posted on July 13, 2012

And we’re back, (a) live from the Baryshnikov Arts Center. Sarah wants to dance. And so she does, to Beethoven’s 7th, and as I piece together a seven minute mis-en-scène, I start to understand what I have been listening to these past weeks. It is here, this instant which reduces the day to day to the rubble of a contradiction in terms. Sarah needs an audience and so I ask a group of children who are in the hallway waiting for their turn, to come in. We make a new piece in ten minutes with these children from the Kid’s Theatre as the studio inhales and exhales life 3D. Days earlier, all I had seen was a cluster of lines, jostling for position as they danced on pins and needles.

I still hear the whoops of the Kid’s Theatre children as we assembled the piece. Sarah is dancing, I’m putting together the piece with the children, the music is playing and there is, all at once, nowhere and no-one else I would rather be. The day is a perfect arc as I finally feel what I was previously, unable to fathom. Back to you in the studio…

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