In the 45-minute course of It’s All Forgotten Now, the material simply grew and leafed out, producing images of antagonism and concern, helping, holding, resisting, pursuing. It was the compositional process, practically unadorned with any other readable references, that created a movement narrative through Donovan’s dance.
The small but intense show of Louise Bourgeois’s graphics and sculptures that’s up now at the ICA had a coincidental relationship to these two dances. Bourgeois has embedded her autobiography in strange distortions and fractured forms, but she tells us in accompanying words how these works reflect their intimate sources. I don’t know whether it makes an artist’s work more meaningful to be let in on these connections, but, enlightened about them or not, I like the feeling of density in a dance that’s more than movement.
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