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Stories Left to Tell
Mar. 18 — Mar. 20, 2010

Spalding Gray: Stories Left to Tell / Walker Art Center
Minneapolis, MN
Darrell Jones. Photo by Antoine Tempe.^2 Darrell Jones. Photo by Antoine Tempe.^2 Gesel Mason and David Thomson. Photo by Antoine Tempe.^2 Image from (the effloreescence of) Walter. Photo by Ralph Lemon.^2 Walter Carter in spacesuit. Photo by Ralph Lemon.^2 The spaceship from (the efflorescence of) Walter at the Contemporary Art Center, New Orleans. Photo by Claire Tancons.^2 Omagbitse Omagbemi and Darrell Jones. Photo by Antoine Tempe.^2

Cross Performance/Ralph Lemon

My creative process entails a vigorous collision of creative cultures and inspired conversations that dictate how the work is constructed, and how it will be shared with public audiences. I am always asking how can an intensive artistic research and immediate art-making process translate to the staged realm of a theater or gallery? This ongoing struggle between process and production creates a tension that is a vital element in all of my artistic work.  - Ralph Lemon

The question of transcendence and the human destiny of partnership lie at the heart of How Can You Stay in the House All Day and Not Go Anywhere?, Ralph Lemon's four-part "speculative fiction epic" merging dance, text, media, sound and visual art.  Deeply influenced by Lemon's seven-year collaboration with Walter Carter, a centenarian and former sharecropper from Bentonia, Mississippi, How Can You Stay bridges the personal and the universal, drawing from myths and realities to offer "visions of humanity, simple and complex; part history, part memory."  The four parts feature "walls" and "rooms" representing the interior and exterior landscapes of cultures and human spirit, while imagery of spaceships and flying saucers recall ideas of futurism and the escape to a wholly new place with unlimited potential.  

  • Sunshine Room "remaps" portions of Andrei Tarkovsky's sci-fi romance film, Solaris (1972), and Jean-Luc Goddard's futuristic film, Alphaville (1965), in the "outer space" of the Mississippi Delta. Featuring filmed performances of Walter and Edna Carter, and commissioned sculptures by Walter's son, Warren, and friend, Lloyd Williams, Sunshine Room offers visions of life transitions (such as illness, leave-taking and death) that are experienced as life lived "outside of time." Accompanied by Ralph's onstage narration, Sunshine Room embraces cultural memory and moving forward- imagining some future, despairing of leaving, and holding nostalgic visions while negotiating a new belief system.
  • Wall/Hole is an intervention and a breaking point, showing the path to change both longed for and resisted in Sunshine RoomWall is performed by five dancers from Lemon's 2004 work, Come home Charley Patton- Darrell Jones, David Thomson, Djédjé Djédjé Gervais, Gesel Mason and Okwui Okpokwasili- with the addition of dancer Omagbitse Omagbemi.  Beginning where Charley Patton ended- an impassioned and cathartic dance called "Ecstasy"- Lemon extends his choreographic exploration with the dancers past the point of exhaustion to a place of vulnerability and release. Wall is immediately followed by Hole, a new solo performed by Lemon, in which he tears down a figurative wall.  Envisioning the wall as both an abstruse door and a keyhole, with the dance as the key, Wall/Hole suggests "the inevitable and infinite consequences of change, from birth, from growth, from death, from war, from life itself."
  • No Room is a reduction of themes from Sunshine Room, and a parallel reduction of Tarkovsky's Solaris to its primary love story, performed by Lemon and Okpokwasili, who portray what makes us human in partnership- birth and death, love and marriage- and the accompanying joys and loneliness.
  • Rescuing the Princess is a mixed media art installation to be exhibited either on its own or in tandem with the staged performances of the other sections, and visually reiterates the project's themes of love, loss and possible redemption.  It includes:
    • A series of 10 to 15 large format color photographs of Walter and Edna Carter reenacting primary scenes from Tarkovsky's Solaris and Goddard's Alphaville, two films about the estranging future having already arrived, and at their centers, two beautiful and haunting love stories.
    • A series of 10 to 20 ink drawings of Walter in his spacesuit, visiting different (American) time periods and moments in the western modern art world/canon.
    • A room-size installation using greatly slowed film projection, light and shadow to create an immersive environment that distills the emotional themes of the work into a meditative experience.