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On the left, random photo-detail-crop of Cally Spooner performance work at the NewMu (hat tip helvetica12); on the right, a clip from Luc Besson's Lucy, depicting Scarlett Johansson telekinetically flinging a mobster into a wall. Caught on the fly, Spooner's work resembles standard Trisha Brown-style gesture art but there's so much more. As the press release tells us, this is "a group of dancers who respond to conflicting choreographic instructions: to stay intimately bound together while remaining fiercely separate." Moreover, "trained by rugby players and a movie director, [their work follows] the logic of a 'stand-up scrum' -- a daily meeting often used in collaborative, responsive practices such as software development." Darn, that's a lot for one work of art.
Scarlett Johansson may or may not have had a rugby coach, but she is definitely guided by a movie director. Cally Spooner perhaps didn't need the theoretical overkill to institutionally legitimize her dancers' movements. In our current critically relaxed state where Laura Poitras and Tim Burton are shown in museums as "artists" it's only fitting to consider Johansson's genetically enhanced superhuman Lucy as form of po-Mo body practitioner. Semioticians may have already noted that the name Lucy is a trans twist on Luc, etc etc.