short bio:

Miguel Gutierrez lives in Brooklyn, NY. He creates dance-based performances, music and poetry. His work has been presented at Centre National de Danse/Pantin, Centre Pompidou, Kampnagel, ImPulsTanz, Philly Live Arts, Walker Art Center, TBA/PICA, MCA Chicago, ICA Boston, New York Live Arts, Live Arts Bard, AMERICAN REALNESS, the 2014 Whitney Biennial and many other festivals and venues. He has received support from Creative Capital, MAP, National Dance Project, Jerome Foundation, New York Foundation for the Arts and the Tides Foundation. He is a 2010 Guggenheim Fellow, United States Artist Fellow, and award recipient from Foundation for Contemporary Art. He is a 2016 Doris Duke Artist. He has received four New York Dance and Performance Bessie Awards. His recent work includes a commission for Ballet de Lorraine in Nancy, France, called Cela nous concerne tous (This concerns all of us), which was inspired by the events of May 1968 in France. He has created music for several of his works, for choreographer Antonio Ramos, and in collaboration with Colin Self for Jen Rosenblit and Simone Aughterlony’s Everything Fits in the Room. He has performed as a singer with Anohni, Justin Vivian Bond, Vincent Segal, and Holcombe Waller, has a music duo with Nick Hallett called Nudity in Dance, and he recently launched a project called SADONNA, sad versions of Madonna songs. He invented DEEP AEROBICS and he is a Feldenkrais Method® practitioner. He is the program director for LANDING, a new educational initiative at Gibney Dance Center. His book WHEN YOU RISE UP is available from 53rd State Press.

long ass bio:

Miguel Gutierrez is a Brooklyn based artist working in multiple disciplines: dance, performance, music and poetry. He has been called “one of our most provocative and necessary artistic voices” by Eva Yaa Asantewaa at Dance Magazine. The recurring themes of his work include mortality and the desire for meaning, how identity relates to content and form, and the commingling of the mundane with the sublime. His work joins a legacy of process-focused experimental forms while drawing on influences such as endurance-based performance art, noise music, ecstatic experience in social and religious rituals, the study of mind-body somatic systems, and various histories of spectacle including Broadway and queer club performance.

His most recent work is Cela nous concerne tous (This concerns all of us), a commission for Ballet de Lorraine that was inspired by the French social unrest movements of May 1968. Earlier in 2017 he created I’m sitting on my aura, a work for students at DOCH in Stockholm. Prior to that he spent three years from 2013 to 2015 creating Age & Beauty, a trilogy that places a queer lens on mortality, the representation of the dancer, the intersection of administration with art-making, and an ambivalence toward futurity.

Gutierrez is one of the few dance artists to have been selected for a Whitney Biennial (in 2014). His work has been presented in over fifty cities in the U.S. and around the world in venues such as the Brooklyn Academy of Music, New York Live Arts, The Kitchen, Danspace Project, AMERICAN REALNESS, Live Arts Bard, Walker Art Center, Flynn Center for Performing Arts, PICA’s TBA Festival, CounterPulse, Diverseworks, Fringe Arts, Centre National de Danse and Centre Pompidou in Paris, Les Subsistances in Lyon, L’Opera National de Lorraine, ImPulsTanz in Vienna, Kampnagel in Hamburg, BiPod Festival in Beirut, Festival Universitario in Colombia and many others.

He is a 2016 Doris Duke Artist. In 2010 he received a Guggenheim Fellowship in Choreography. That same year he also received a United States Artist Award and a Foundation for Contemporary Art Award. In addition he has received a Lambent Fellowship from the Tides Foundation (2006-2008), and Fellowships in Choreography from New York Foundation for the Arts in 2004 and 2008. He is the recipient of the 2016 Franky Award from Prelude Festival, and he has received four New York Dance and Performance Bessie Awards: one in 2001 for his work as a dancer with John Jasperse Company, two for his choreographic work (in 2006 for Retrospective Exhibitionist and Difficult Bodies and in 2010 for Last Meadow), and one in 2017 for Outstanding Revived Work with Ishmael Houston-Jones, Nick Hallett and Jennifer Monson for Variations on Themes from Lost and Found: Scenes From a Life and Other Works by John Bernd.

His work has been supported by New York Foundation for the Arts’ National Dance Project, the NPN Commissioning Fund, MAP Fund, Jerome Foundation, Creative Capital, the Josephine Foundation and the NEA. He has been an artist in residence at Maggie Allessee National Center for Choreography, Lower Manhattan Cultural Council, Centre Choréographique National de Montpellier, Centre National du Danse Pantin, Baryshnikov Art Center, Gibney Dance Center and several universities.

He has created several one-off pieces, such as a collaboration with visual artist Jenny Holzer for the Boston ICA, an evening of performance interventions for the Regarding Warhol exhibit at the Metropolitan Museum of Art, a performance for Courtesy the Artist’s residency during Performa 2013 at Recess Gallery, and a performance response to the Re-defining Actionism show at MUMOK in Vienna in partnership with ImPulsTanz. In 2013 he spent a week performing outdoors at the Roskilde Music Festival as one of the Holy Sisters of the Church of Beer, a project initiated by Jeremy Wade as part of his Maximum Service series. He has created commissions for Philip Adams’ BalletLab in Melbourne, The Fondue Set in Sydney, LabCo in Pittsburgh, Fauxnique/Monique Jenkinson in San Francisco, and Movement Forum in Salt Lake City. He has also participated in a variety of research based projects such as artist exchanges in Russia and Hungary that were supported by DTW’s The Suitcase Fund, an exchange with choreographer Luke George that was supported by Arts House in Melbourne, and a MANCC supported project with choreographer Alex Ketley called Deep South where they drove through the American south in order to meet, interview and perform for strangers.

He has created music for several of his works, for choreographer Antonio Ramos, and recently co-created music with Colin Self for Jen Rosenblit and Simone Aughterlony’s new work Everything Fits in the Room.

He’s read at the Poetry Project, People Herd, GUTS, Radar, and was a writer in residence in 2012 at RadarLAB in Mexico. His writing has appeared in handjob the zine, the Movement Research Journal, Emily Roysdon’s Uncounted, Shannon Jackson and Paula Marincola’s book In Terms of Performance, Rebecca Stenn’s book A Life In Dance, and online – - his blog about celebrity sightings. His short essay “The Perfect Dance Critic” has been featured in several international publications. His book of performance texts WHEN YOU RISE UP is available from 53rd State Press and he is planning a second book called THE THINGS YOU SHOULD HAVE DONE. His work is discussed in Jenn Joy’s book The Choreographic, published by MIT Press.

He has choreographed and performed in music videos for Diane Cluck, Holcombe Waller and Le Tigre (which went viral and produced various copycat videos), has performed as a singer with Anohni, Nick Hallett, My Robot Friend, Justin Vivian Bond, Holcombe Waller, Vincent Segal and Kid Millions. He has created original music for several of his stage works and has released two albums under the moniker The Belleville. Most recently he has created a new music project called SADONNA, sad versions of Madonna songs.

He is featured in David Thorpe’s documentary “Do I Sound Gay?”, Marc Huestis’ documentary“Sex Is,” and Michael Wallin’s experimental film “Black Sheep Boy.”

As a performer he has worked with Joe Goode Performance Group, Jess Curtis, Knee Jerk Dance Project, High Risk Group, Jennifer Monson, Juliette Mapp, Erin Cornell, Sarah Michelson, Alain Buffard, Deborah Hay, Ann Liv Young, Yvonne Meier, Mark Morris Group. In October 2016 he performed at the New Museum with My Barbarian in their project Post-Living Ante-Action Theater alongside an illustrious group of artists. With Ishmael Houston-Jones he co-directed Variations on a Theme from Lost and Found, a re-construction and re-imagining of pieces by John Bernd, which was selected as one of the top dance events of 2016 by The New York Times.

He is the program director Gibney Dance Center’s LANDING, a new peer to peer education and mentoring initiative. He leads workshops in his approach to creative practice all over the world and has taught at ImPuls Tanz in Vienna, CND in Paris, CNDC/Angers, American Dance Festival, the MFA program at Hollins University, and in New York at New School/Eugene Lang, Hunter College, and Movement Research, among many other places. In 2007 he invented DEEP AEROBICS, an absurdist workout for the radical in all of us, which was foisted upon people all over the world, used to warm up audiences for The Knife “Shaking the Habitual” tour, and, finally, killed in 2017 after ten fruitful years of bouncing. From 2006-2015 he served as a volunteer mentor for TDF's Open Doors program. He was the winner of the PS 122 One Minute Dance Contest in 2000, and in 1987 as a 16 year old he was one of the original Club MTV dancers. He is a guild certified practitioner of the Feldenkrais Method® and he studies voice with Barbara Maier.

photo by Tomas Cruz