Morphoses to Adopt a Curatorial Model

Morphoses in Christopher Wheeldon’s Rhapsody Fantaisie, photo by Erin Baiano

After an announcement earlier this week about Christopher Wheeldon’s departure from Morphoses/The Wheeldon Company, which he established in 2007, the company released a statement today about its plans for the future.  Here is the press release:

Lourdes Lopez, co-founder and executive director of Morphoses, announces a new direction for the company following the departure of founding artistic director Christopher Wheeldon, effective February 18, 2010.  The company will now be known simply as Morphoses.
 
“Morphoses will adopt a curatorial model in which the company will invite artists from various disciplines to take on the role of resident artist for one season, leading the company’s artistic vision for that year,” said Ms. Lopez.
 
The embrace of a curatorial model is a natural evolution and expansion of the company’s mission and vision.  To date, more than half of the company’s repertory is comprised of works by a diverse group of emerging and well-known choreographers that include Michael Clark, William Forsythe, Tim Harbour, Adam Hougland, Lightfoot León, Edwaard Liang, Pontus Lidberg, Annabelle Lopez Ochoa, Liv Lorent, Emily Molnar, Alexei Ratmansky, as well as Frederick Ashton, George Balanchine and Jerome Robbins; the balance of the works were created by Christopher Wheeldon.
 
Morphoses has become a robust platform for some of the most talented choreographers in contemporary ballet, enabling them to create work with a versatile company of dancers.  Collaborators have included such artists as Los Carpinteros, Francisco Costa, Hugo Dalton, Narciso Rodriguez, Joby Talbot, Isabel and Ruben Toledo, and Martha Wainwright.
 
“Christopher’s artistic vision and talent has helped make Morphoses one of today’s most important dance companies,” said Ms. Lopez.
 
By adopting this curatorial model, the company will afford artists the opportunity to use Morphoses as a stage to forge dynamic creative partnerships that will produce innovative works for the dance world. This model will enhance the company’s capacity to reach out to a larger, broader audience and engage a younger generation.  The company has begun the process of identifying the roster of resident artists for the upcoming seasons and will be announcing plans in the near future.
 
“In addition to its artistic achievements, Morphoses has established a successful business model and self-sustaining administrative structure that allows the company’s resources to be focused on its artistic goals, bringing forward a new generation of talent to younger audiences,” added Ms. Lopez.  Since its founding, Morphoses has achieved artistic and financial success through annual seasons in New York and London, domestic and international touring, and private and institutional support.
 
“The company has built up a reserve of funds to support the curatorial model,” stated Catherine Gildor, a member of the board of Morphoses. “We see this as validation of the crucial role that Morphoses has taken on in the world of contemporary ballet and are therefore committed to building upon our success.”
 
Morphoses’ mission is to broaden the scope of classical ballet by emphasizing innovation and fostering creativity through collaboration.

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