Movement Love

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Movement Love
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Atlanta Contemporary says
This December through next Spring 2017, Maggie Benoit and Atlanta Contemporary present “Movement Love,” a yoga series that introduces movement programming alongside collaborating audio and visual artists. Installations and interactive media define curated classes that blend movement with live projection, music, film, therapeutic resources and conversation for community building.

Admission is $10
All money received will go to those making the work. Visitors can purchase tickets on the day of the event at the welcome desk (we accept cash and credit via Square).

March 5, 2017 10:30am-11:30am — BODY / Marie Davon (Powerkompany) and Ben Rouse

Marie Davon (Powerkompany)

In an effort to express a complex topic in sonic manner, Marie Davon has shifted (if only briefly) from her usual dramatic cinematic pop to exchange dialogue through a soundscape that’s subtle shift in tonality. Fresh off of the release of her band Powerkompany’s two-part album “Fever and Chills,” Davon dips into new experiences with sparse compositional elements that use sonic loops to create one ethereal breath. Touching on different musical themes, she creates a meandering expression of challenge, triumph, intimacy and exploration.

Ben Rouse

Benjamin Rouse is an American photographer and director living in Athens Georgia. After leaving the Mormon church at the age of 19, Benjamin has long used art to better understand the secular world around him. Self taught, he has displayed his film and photographic work throughout the South East, as well as NYC. He has worked with a number of artists both locally and internationally, including Kishi Bashi, New Madrid, Tall Tall Trees, Don Broco, Bambara, Muuy Biien. He recently directed two videos for of Montreal and has collaborated with the band on projection design. After a stint painting rorschach blots, Rouse’s interest grew into his most recent project conjuring rorschach blots with the human form using mirrors. Originally a photographic series, the project quickly turned to stop motion film because “the images wanted to move.”
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By: Atlanta Contemporary

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