︎ CONTACT:
erykadellenbach@gmail.com


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E r y k a   D e l l e n b a c h (she/they)
is a Brooklyn based and Chicago bred filmmaker, choreographer, performer and teaching artist. Her embodied films and evocative, multidisciplinary performance works mine the complexities of femme relationships, sensuality, power and psychophysical thresholds. These thresholds she regards and navigates as malleable locations of consciousness.

She has worked with and performed in the works of an eclectic variety of dance/performance artists including  Atsushi Takenouchi, Tori Wränes, Tino Sehgal, Blair Thomas Puppet Theatre, Matty Davis & Eva Mag. Eryka has presented work at Movement Research at the Judson Memorial Church, Anthology Film Archives, Roulette Intermedium, Virginia Commonwealth University, Intuit Outsider Art Museum, The Art Institute Museum of Chicago, Defibrillator, Links Hall, No Nation Gallery, and internationally in Italy, Germany and Russia at the Shiryaevo Bienalle of Contemporary Art. She was selected as a 2020 filmmaker by Visible Poetry Project.

She earned a bachelor’s degree in Cultural Anthropology from the Universiy 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 a choreographer, performer, artist teacher, performance documentarian, DP, camera operator, and contracted worker.

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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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