Installations and Performances
the steps leading up but also down
Commissioned Performance in response to Sightings: Michael Dean exhibition, "Lost True Leaves," at the Nasher Sculpture Center (Dallas, TX)
the steps leading up but also down is a movement response to Michael Dean at the Nasher Sculpture Center in Dallas, TX on January 9th, 2017. Feeding on the spare emotional geometry and smirking silence of Michael Dean, DGDG celebrates the artist’s fascination for the finite and fragmented nature of language. the steps leading up but also down begins with a dense attack of text – specialized, current, topical, yet ultimately pointless. From this foundation, the interaction between the dancers and the work is slowly deconstructed, finding inspiration in the sculpture’s human posture and instincts. The dancers discover hunger, conflict, civilization, and death as layers of cultural distance fall away. Between the physical tasks of the dancers, and the slow moving puppetry of the exhibition, the steps leading up but also down provides the dismantled opera upon the spare, organic setting. Scored by Donovan Jones, Dallas’ Black Taffy, the manipulated electronic signal of a breathy vibraphone sings back Michael Dean’s repose.
Created and conceived by Danielle Georgiou and Justin Locklear. Performed by the Danielle Georgiou Dance Group with live music from Donovan Jones. The commisioning was organized by Karen Weiner (The Reading Room). Photos by Andi Harman.
No One Puts Baby In The Corner
Performance Installation for "Utopia: Impossible States" as part of the Freefall Festival at El Centro College (Dallas, TX)
This performance was commissioned by the Freefall Festival and sponsored in part by a grant from the Dallas Office of Cultural Affairs.
Official selection for the 2015 AMOA Biennial-600: Sculpture at the Amarillo Museum of Art (Amarillo, TX)
"Paper City" combines large-scale photographs, video, and paper to create a wall installation that mimics the celebrity network. Using Dallas-based magazine Paper City, recylced fashion, and celebrity gossip magazines the "flowers" surrounding the celebrity portraits (which is actually the artist in mask as the celebrities) brings together the natural and biomorphic world.
Official selection for the 2014-2015 Solo Exhibition Series at Women and Their Work (Austin, TX)
"...Georgiou explores femininity and the psychological effect of social media on perceptions of the female body...Some of the pictures are sexual in nature, others appear almost distorted, as if her butt is disconnected from her body...The selfies and the belfies are a nod to the trend of chronicling of every single moment and thought on social media, a stream of global consciousness that often gets loosely organized into a Twitter trendline (and often into cultural conversations and debates about the value and power of hashtag activism)...The show serves as a tangible illustration of the conversation we keep finding ourselves having. How does a hashtag spark debate or foster community among women? How can it affect individual self-identity and self-worth?" - Sofia Sokolove, CultureMap Austin
"Georgiou is able to simultaneously create a comfortable and uncomfortable space by using the familiar facets of everyday life in unfamiliar ways. She is inviting and vulnerable, but is able to conjure, through knowledge and experimentation, a feeling of intimacy and strength." - Jonathan Murthy, Austin Woman Magazine
"The photograph and, in a sense, curation have come down from their pedestals and into the public realm. The connotations of both have shifted from notions of the documentary or presentation of facts to something manipulated to serve the purposes of the author. There's plenty to glean from the exhibition about ideas of the body and, if not feminism, then at least what it is to be female now in light of pop culture and social media." - Seth Orion Schwaiger, The Austin Chronicle
Premiered at the 2013 Rogue Fringe Festival (Fresno, CA)
Restaged at Ro2 Art Gallery (Dallas, TX) and the Margo Jones Theatre (Dallas, TX)
Official selection for the 2013 Texas Biennial (San Antonio, TX)
Official selection for the 2016 17th International Theater Festival (Dallas, TX)
Performers: Danielle Georgiou and Justin Locklear
Videos: Danielle Georgiou
Live Music Orchestration: Justin Locklear
"It's a bear-all emotional purging: a woven mass of video footage, weather balloons, dance, light nudity, improvised music and a climaxing rubber chicken. Early on the show narrates the painful isolation of togetherness and the struggle to prove one's value to another. Then it seals off the coupling contamination hatch, a required act preluding love's divide." - Jamie Laughlin, Dallas Observer
Eugene Binder Gallery, 2013 (Marfa, TX)
"L’Homme Dérangé" = “man, deranged.”
Georgiou’s videos are compelling, confrontational, and ingeniously crafted. In the video Love Crime, she takes lyrics from various pop songs about love and creates a “poem” from these quotations.
Divorced from their original context, these lyrics become more explicit about sex and less metaphorical about love. In the video, the artist repeats each uncensored lyric fragment and is then visually censured. This tug of war of makes manifest the divergence between what is deemed acceptable behavior in representations of women in popular entertainment, and the behavior actually condoned by contemporary social norms for real women.
Georgiou’s video Bunny Hole takes viewers in a completely different direction as the character in the video. The artist takes on the identity of a fading icon of sexuality, initially appearing disheveled, uneasily seductive, and simultaneously repulsive.
As the video continues, the character deteriorates into a maudlin but threatening caricature inhabiting a less than glamorous environment.
Georgiou’s larger video installation creates a dreamlike environment within the exhibition space that questions its representation of itself, inviting existential queries about the real and the imagined, the sensory and the cerebral. These edgy, thought-provoking works, through their direct and unsuperfluous production values, portray larger social and philosophical questions.
L’Homme Dérangé, featured the work of Danielle Georgiou, Hillary Holsonback, and Katherine Alexander.