Dividing Line (To Premiere Fall 2013)
Dividing Line is an investigation of points of no return, set within physically charged but concurrently contained spatial boundaries. This new evening length work features a score composed by long-time collaborator Ryan Lott/Son Lux performed live by a string quartet.
concrete mécanique (2010)
concrete mecanique – Symphony Space – Excerpt 1
concrete mécanique examines the politics of the body separate from its social context and explores movement as a vehicle for communication and physical interaction.
Premiered at Peter Norton Symphony Space/Peter Jay Sharp Theater in March 2010.
- 30 minute-work for five dancers
- Composer: Ryan Lott/Son Lux
- Live music: yMusic (Chamber Ensemble)
- Original Lighting: Kathy Kaufmann
- Costumes: Lex Liang
View Partially Obstructed (2009)
View Partially Obstructed -Excerpt 1
View Partially Obstructed delves into the subjective nature of perception and our struggle to create a full view of ourselves, others, and the world, despite having incomplete or distorted information.
Premiered at Baryshnikov Arts Center in October 2009.
- Evening length work for five dancers
- Composer: Ryan Lott/Son Lux
- Scenic and Costume Design: Lex Liang
- Live animation: superDraw/Joshue Ott
- Original Lighting: Kathy Kaufmann
a totally fierce piece of dance that I would love to see again and again! — Dante Puleio, iDANZ
View Partially Obstructed is a world unto itself through a combination of lighting, music, projected video, moveable scrim panels and overlapping dance stories. This is a big piece in so many ways. — Quinn Batson, OffOffOff.com
Gina Gibney’s troupe has reconfigured… But one thing remains constant: her exacting aesthetics. You can still rely upon her keen eye and ear as well as the imaginative sweep of her collaboration with talented, ambitious colleagues… Along with Gibney’s smart, appealing quintet of dancers, these collaborators invite us to sink into a dynamic, sense saturated world for about an hour. — Eva Yaa Asantewaa, Dance Magazine
The Distance Between Us (2007)
The Distance Between Us explores how we come to understand — or at least come to terms with — others and ourselves.
Premiered at Ailey Citigroup Theater in November 2007.
- Evening-length work for six dancers
- Composer: Ryan Lott/Son Lux
- Scenic Design: Lex Liang
- Costumes: Naoko Nagata
- Original Lighting: Kathy Kaufmann
The Distance Between Us is a subtle discourse on the emotional ebbs and flows between people, especially women, in an hour of meticulous, flowing beauty. — Quinn Batson, OffOffOff, 2007
Gina Gibney’s The Distance Between Us is flat-out gorgeous… Distance, like Gibney’s 2005 Unbounded, occurs in a place of beauty, inhabited by strong, beautiful women. In her company’s Domestic Violence Project, Gibney has done pioneering work with traumatized women through dance. The uplifting qualities in The Distance Between Us surely mirror those that are stressed in that project: self-confidence, trust of others who are worthy, freedom, strength, and resilience. — Deborah Jowitt, The Village Voice, 2007
unbounded (2005)
Unbounded – Danspace Project – Excerpt 3
Called “quietly startling” by The New York Times, unbounded examines the human will to connect to, struggle with, and even cling to the familiar, while at the same time seeking answers in the unknowable.
Commissioned by and premiered at Danspace Project in October 2005.
- Evening-length work for five dancers
- Composer: Ryan Lott
- Costumes: Naoko Nagata
- Original Lighting by: Kathy Kaufmann
- Installation: Gina Gibney
- Video: Anja Hitzenberger
Art that engages often creates its own world. That was the case with Gina Gibney’s new unbounded … Ms. Gibney has described the piece as an exploration of the tension between clinging to the familiar and reaching beyond to the unknowable. Her delicate, beautifully worked-out pieces have always seemed to juggle this fundamental duality of everyday life. — Jennifer Dunning, The New York Times, 2005
Thrown (2004)
Thrown – The Duke on 42nd Street Theater
Thrown is a dance about disruption and unpredictability. It examines our yearning for stability: If we are constantly “thrown,” how do we find our equilibrium?
Premiered at The Duke on 42nd Street in February 2004.
- Evening-length work for six dancers
- Composer: Andy Russ
- Costumes: Naoko Nagata
- Original Lighting: Kathy Kaufmann
Gina Gibney’s dances are polished to a tantalizing sheen like semiprecious stones… Amid the cascading shapes and flowing lines to which her dancers seem well attuned, Gibney is the last choreographer one would expect to get caught up in disorder, instability and disorientation. But there she is, having just completed Thrown, a work that pushes her six elegant dancers to their limits and beyond. — Lisa Traiger, The Washington Post, 2004
Time Remaining (2002)
Inspired by an image of ancient temple ruins overtaken by entangled vines, Time Remaining is a meditation on and celebration of time. The work contrasts past and present, urgency and calm to explore the power of time to both erode and renew.
Co-commissioned by Danspace Project and DANCECleveland and premiered at Danspace Project in October 2002.
- Evening-length work for seven dancers
- Composer: Kitty Brazelton
- Scenic Design: Normal Group for Architecture
- Costumes: Naoko Nagata
- Original Lighting: Kathy Kaufmann
Which came first? The music? The dance? The costumes, sets or lighting? It’s impossible to tell in Time Remaining, an evening-length work so intelligently conceived and smoothly woven that all theatrical elements coalesce in a seamless fabric of movement, sound, texture and color. — Wilma Salisbury, Cleveland Plain Dealer, 2003
The dancers journeyed courageously through many choreographic seasons and times, and hearing the sound of their breath as they moved was like hearing the breath of life itself. — Jack Anderson, The New York Times, 2002
