By Chris Dohse
Copyright 2002, 2017 Chris Dohse
NEW YORK — Lucinda Childs inhabits the immaculate geometry of Sol LeWitt’s 1979 film “Dance” like an angel dancing on the head of a pin. Her iconic, impassive figure looms over the intervening decades, a postmodern totem, merged eternally with LeWitt’s rectilinear decor (black grid on white floor cloth) and Philip Glass’s mesmerizing score. For the Kitchen’s 30th anniversary, in a program seen Saturday night, Childs also ghosts herself, dancing live behind the scrim upon which LeWitt’s film is projected. Her repetitive skips, steps and small jetés done in the now — in straight lines and around the circumference of a circle — correspond nonchalantly with her filmed cadences and parabolas. The performance is a technical marvel, a monument to a certain period of art history, a minimal, relentless arithmetic. Yet stripped as it is to an autistic, tireless austerity, Childs’s delicate presence is haunting and inescapable. She becomes more than a universal human figure, inexhaustibly functioning in relationship to its surrounding space. After a time, you notice her frailty — that one of her arms seems to rotate more freely than the other, the mudra-like shapes her hands often form, her shy, averted gaze and her ironclad chill. She embodies the ‘space-bewitched’ creature once hypothesized by Oskar Schlemmer.
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