Blog Masonry

Article: “The Illumination of LEIMAY’s ‘Becoming-Corpus'”

“They offer a splendid merging/clashing of movement and light in patterns that approach and recede. Garnica and Moriya have been artistic and personal partners for 13 years. Their intimacy shows in the way that Garnica’s choreography is structured, framed, and permeated by Moriya’s lighting and Moriya’s light is populated...Continued

10. Mar

Article: “Revolt of the body in stillness”

“Through the example of LEIMAY’s Becoming Series stillness is theorized as revolt. It is a performative act – a radical form of action confronting the viewer as a body with agency.” “LEIMAY’s Becoming Series manifest political commitment established in its reflexive dynamics that empower subjects in their stillness.” “…the...Continued

10. Mar

Abstract: “More-than-human Movements: Trans-corporeal Choreographies of the Anthropocene”

“…Correspondences’ more-than-human choreographies exposes the trans-corporeal exchanges that both structure and biologically alter the performers.” “Correspondences as a case study to argue that if we are to persist through the ‘horrors of the Anthropocence,’ we must not only stay with the trouble, but move through the trouble.” –Angenette Spalink, Performing...Continued

10. Mar

Book Chapter: “Gen X Butoh: LEIMAY Ensemble: Shige Moriya and Ximena Garnica”

“The work of this artistic duo has been vital to the contemporary development of butoh in New York…They have played a pivotal role as curators and community builders, and now as artists who are forging their own path, inspired by those they have encountered along the way.” “The New...Continued

10. Mar

Book Chapter: “LEIMAY, CAVE, and the New York Butoh Festival”

“CAVE fluctuates between being our home, our studio, the LEIMAY Ensemble studio, and a space for other artists; the private interweaves with the public, the personal with the social, and sometimes all of those spaces exist simultaneously. For some people, CAVE was a gallery, for others a center of...Continued

10. Mar

Essay: “In These Pandemic-Times We Remind Ourselves And Others Not To Be Afraid To Dwell

“We can not negate the power of our art to procure social change or to serve a cause, or its potential to have a worthy market value; however, our art ought to be embedded in the entanglement and revealed through daily common rituals.” -Ximena Garnica, Dance/NYC (2020)

10. Mar

Review: “Floating Point Waves: Leimay at HERE, NYC”

“Leimay…created an immersive world of captivating videos, simple set pieces that produced bizarre visual effects, and evocative music” “Floating Point Waves worked as an exploration of the intersection of human and electronic images with organic and electronic sounds, and the creativity that can come from inventive interactions with the...Continued

10. Mar

Review: “Choose Your Own Rhythm”

“The most notable exception to the problem of dance divorced from its environment was a kinetic installation by Leimay (a company directed by Ximena Garnica and Shige Moriya) in the grand Beaux-Arts Court. Four towering, delicate tents of iridescent white string, suspended from the high ceiling, each housed one...Continued

10. Mar

Review: “Alive in Green-Wood Cemetery

“This dance, “Thresholds” by LEIMAY, suggested life and death happening in a continuum. It was respectful, haunting, and beautiful.” -Sarah Larson, The New Yorker (2014)

10. Mar