︎ CONTACT:
erykadellenbach@gmail.com


CONTENTS









photo by Maria Baranova-Suzuki

E r y k a   D e l l e n b a c h (she/they)
a Chicago-bred filmmaker and body artist based in California’s East Bay on Lisjan Ohlone territory. Her embodied films and performances are rites of passage driven by consent, inquisitive hedonisms and a longing for connection. Their works mine relationships to power, the malleability of consciousness and psychophysical thresholds.

Her process and technique have been informed by studies in dances of resistance and especially by her teachers Wendy Clinard (flamenco), Atsushi Takenouchi (Butoh), Vangeline (Butoh), Deborah Stratman (celluloid film), and the late Dr. Waud Kracke (psychoanalytic-anthropologist). She has worked with artists across mediums including Atsushi Takenouchi, Tino Sehgal, Amanda Gutierrez, Tori Wrånes, Éva Mag, Matty Davis, Nola Sporn Smith, Amelia de Rudder/La Casa de Satanas and the band HOGG

Eryka has presented work at venues such as Movement Research at the Judson Memorial Church, Ann Arbor Film Festival, Anthology Film Archives, Roulette Intermedium, Green River Cemetery, Virginia Commonwealth University, Intuit Outsider Art Museum, Links Hall, No Nation Gallery, and at the Shiryaevo Bienalle of Contemporary Art (Russia). She has been a resident artist at eX...it! international butoh dance exchange and performance festival (Germany), Earthdance (MA), Echo Luna (Ukraine), Cucalorus (NC) and will be at Perfocraze 2021 in Ghana.

She earned a bachelor’s degree in Cultural Anthropology from the University of Illinois at Chicago, and a master’s degree in Film, Video, New Media, Animation and Sound from the School of the Art Institute of Chicago.

She works as an independent, freelance filmmaker, mover, choreographer and contracted worker. She is a celluloid filmmaking instructor at MONO NO AWAREa collaborator of the transnational group HEKLER and an advocate with California Coalition for Women Prisoners (CCWP).

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image by Raven Jackson


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PRO—VITAL 02

Make the Brutal Tender




Every page must explode, whether through seriousness, profundity, turbulence, nausea, the new, the eternal, annihilating nonsense, enthusiasm for principles, or the way it is printed.
All the painters who appear in our museums are failures at painting; the only people ever talked about are failures; the world is divided into two categories of people: failures and those unknown.



The Isms of Art (1914—1924)
Edited by Hans Arp and El Lissitzky



 

I do not consider myself a Cubist either because I have come to the conclusion that cubes are not always made for expressing the thought of the brain and of the feeling of the spirit.
I capture all these impressions without any hurry to transfer to the canvas. I let them rest in my brain and then, when I’m visited by the spirit of creation, I improvise my paintings just as a musician improvises his music.
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