niv Acosta

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Brooklyn, NY

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i am interested in creating a history for myself. i am creating a time capsule. i am creating bodies of work, which in their entirety address larger concepts that become distilled with time. my current interest with what i have been naming “the denzel series” is a reflection of that idea. there are five incarnations of this work; denzel, denzel prelude, denzel superstructure, denzel again, and the latest denzel minipetite b a t h t u b happymeal. all of which have compiled over the last two years. i use the term incarnation because i believe these pieces are reborn from their former self but yet somehow take on a new or evolved identity. my choreographic structures begin as transient mindful matter, they eventually pursue a life of their own making them complex bodies and i strive to regard my work as such. the thread is me, niv the person and my interests with the intersections of race and gender. two large questions which follow my work and structures how the work lives on... this can’t possibly be answered in one denzel. i have recently started identifying with the term “impossible bodies”. those words feel like they embody what i know is true for me and the people i like to work with. we have felt impossible outside of our safe environments. in the past i have involved my mother, 5 year old brother, my partner, close friends who are movers in a different world, and other artists of color. i feel the term “impossible bodies” is universal and is something everyone can relate to. with “possible bodies” fed to us as ideal, how do we make ourselves feel possible without compromising ourselves? drawing concepts of archetypes from film, musicals, songs, and choreography creates a base for me to begin identifying our self diagnosed impossibilities. from there i feel able to move towards ideas of myself/ourselves that feel empowering.

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  1. Allie Hankins