Cori Olinghouse is an artist, archivist, and curator. She is currently developing an improvisational portraiture practice, Clown Therapy that explores the shape-shifting nature of identity and personhood. She was the recipient of The Award, conceived by Dean Moss with Joshua Lubin-Levy (2015), a participant in Lower Manhattan Cultural Council’s Extended Life Dance Development program made possible in part by The Andrew W. Mellon Foundation (2016-2017), and a panelist in the Museum of Modern Art’s “Storytelling in the Archives” forum (2015) alongside Boris Charmatz and Marvin Taylor. Her work has been produced by New York Live Arts, Danspace Project, BRIC Arts Media, The Brooklyn Museum of Art, Roulette, and Movement Research. She has performed in the works of Trisha Brown and Bill Irwin, and is now the Archive Director for the Trisha Brown Dance Company. As part of her graduate research at the Institute for Curatorial Practice in Performance (ICPP) at Wesleyan University, Olinghouse is working on a series of hybrid projects that bring together her research in archives, curation and performance.
Teaching and artistic interests:
In my artistic and teaching practices, I am deeply influenced by practices look at emergent patterning within open systems – rather than learning in codified, repetitive systems. I’ve found observation is a wonderfully dynamic tool that helps look at the impulses, behaviors, and shaping instincts for how a person embodies themselves within their environment. I begin with the body because I believe it is a deep place of possibility – that contains within it complex patterning, plasticity, and the ability for change. Improvisation is another rich method I use because of the way it deals with patterning that evolves in self-organizing, complex systems. For me, any improvisational form addresses emergence – how an individual uses his or her own history in an emergent present – with complex patterning that evolves and finds its ways into unique structures.
My artistic work attempts to bridge disciplines by bringing new possibilities to each respective form. For example, my newest work, Ghost lines, a live performance evening, including the screening of a 16mm experimental film, seeks to invoke the spirit of Vaudeville through a Dada/Surrealist eye, creating a synthesis of forms, while experimenting with non-sequitur timing, comedic rhythms, and visual rhyming.