Moriah Evans

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Moriah Evans positions choreography as a speculative and social process. Drawing on somatic choreographic practices and feminist critiques of visuality, her work expands a relation to dance beyond the visible, towards the different ways of sensing ourselves and our relations to each other. Developing movement from the unseen, yet felt, worlds of a body’s material and affective interior, Evans’ projects question hierarchies between flesh, body, self, and subject. Evans maintains a multi-pronged approach to her art practice; creating site-specific performances, theater-based productions, museum-based participatory installations, symposiums, theoretical texts, and curatorial projects. Her recent works include Remains Persist (Performance Space, 2022); Rehearsals for Rehearsal (Public Art Fund, 2022); Restos (Espacio Odeon, 2021); Repose (Beach Sessions, 2021); Be my Muse (Pace Live, 2021; Hirshhorn Museum, 2018; FD-13, 2017; Villa Empain, 2016), BASTARDS: We are all Illegitimate Children (NYU Skirball, 2019); Configure (The Kitchen, 2018); and Figuring (SculptureCenter, 2018). In 2011 Evans initiated The Bureau for the Future of Choreography, an ongoing collective investigating participatory performance. From 2013-2020, she served as Editor-in-Chief of the Movement Research Performance Journal and continues to contribute to the journal as Editorial Director. For two years she was a Tanzkongress Curatorial Advisor and has been a Dance & Process Co-Curator at The Kitchen since 2016. Evans has been an artist-in-residence at MacDowell, Movement Research, The New Museum, Lower Manhattan Cultural Council, Issue Project Room, Studio Series at Νew York Live Arts, ImPulsTanz, MoMA/PS1, MANA Contemporary, and Onassis AiR. She is a FCA Individual Artist Awardee and 2022 Guggenheim Fellow. She has a BA in Art History & English from Wellesley College and MA in Art History, Theory, and Criticism from UC San Diego.

This information is accurate as of the fellowship year indicated.