The Wall Street Journal

July 1, 2013

“If you can eat barbecue, you can also listen to experimental poetry. They both belong to you,” said Aynsley Vandenbroucke, the co-curator and co-founder of Mount Tremper Arts, an artist-run space on a serene 114-acre property in the Catskill Mountains. “It gives people a chance to demystify art and get to know artists.”  Read full article on Mount Tremper Arts’ Pork and Poetry event here.

The New York Times

May 19, 2013

Their corporeal offerings are, by turn, luscious and stark; each dancer, obscured by fabric, is lost in her own world to create a scene that wavers between intimacy and cool formality…. In the past, Ms. Vandenbroucke has worked with words to create a sensory experience. (In one piece, words were typed in real time as a way to convey ideas dancing on a screen.) In “35 ½” sentences and paragraphs are shown on the wall behind the dancers, but — like the fleeting moments in any dance — disappear quickly so all you grasp is a fragment or two.  More here.

The New Yorker

May 11, 2013

In making “35½,” the smart, inquisitive choreographer surrounded herself with collaborators both a little younger (the dancers Lauren Grace Bakst and Rebecca Warner) and several decades older (the drummer Bobby Previte, the dearly admired dancer and choreographer Vicky Shick). It’s a trio about analytical thinking and sensual dance—and maybe vice versa.

The New York Times

May 10, 2013

You can’t judge a performance by its promotional photo, but the one for Ms. Vandenbroucke’s new “35 ½” gives us some intriguing hints about what she’s been up to. An index of keywords, superimposed over the image of a rubber boot-wearing dancer, suggests that everything from “radical formalism” to “Swan Lake” to “subtlest dance ever” has been on her mind. It’s worth the trip to Long Island City to see what she and her wonderful collaborators (who include the esteemed dancer-choreographer Vicky Shick) have been cooking up.

artforum.com 500 Words

July 28, 2011

We often say that Mount Tremper Arts is an antidote to the global art industry. It’s like summer camp for artists: from the intimate size of the space to the seven-week length of the festival, as well as the communal meals, the relaxed pace, the beautiful environment. We wanted to build a place where artists, like us, could make rigorous work in an intensive yet informal setting… Read More  here.

The New York Times

March 18, 2011

 ’I'm obsessed with the movement of ideas and the choreography of language,’ types Aynsley Vandenbroucke, her words projected on a screen. Those thoughts pervade ‘Untitled,’ a piece in which no one dances, but thoughts about dance and our relationship to art are gently, poetically, presented.
Read the full review of recent Danspace Project Performance here.

Danspace Project Blog

March 17, 2011

Its staging is simple: a series of written dialogues between Vandenbroucke and her past, Vandenbroucke and her present, and Vandenbroucke and her artistic collaborator, Brian Rogers. These dialogues range from the mundane (the experience of making a dance), to the personal (experiences of personal failures, frustrations, childhood memories, artistic influences), to the philosophical (what it means to begin and/or end something, why things (dances) matter). read more here.

The New York Times

October 21, 2010

A group of New York City-based artists who have worked together in a choreographic laboratory led by Trajal Harrell (the current curator of the Danspace platform, “certain difficulties, certain joy”) present a one-off performance. What it is remains mysterious, but the artists involved are a terrific group, with Will Rawls, Brennan Gerard, Ryan Kelly and Aynsley Vandenbroucke among them.

The Brooklyn Rail

September 20, 2010

Public performance is one thing, but this location is built to feed artists and once you’ve seen it, it becomes clear that there’s nothing more important than a space where life and art aren’t ever at odds, all creative work is valued, and the true currency exchange is in ideas. Read the rest of this article by Patricia Milder here.

The New York Times

December 12, 2009

A Number of Small Black and White Dances is a “tender reimagining of the past, and a sophisticated rumination on how an ephemeral art form can survive while staying true to its fragile, mutable essence.” Read More

danceviewtimes

December 10, 2009

The choreographer has a sharp eye for psychology.  On a half-lit stage, Djamila Moore lay on the floor curled as if in sleep.  Kristen Warnick took a cord and created an outline around Moore, like a police crime scene.  Then she curled up and lay beside her.  Moore noticed the intrusion.  She got up, moved a few feet away and reassumed her position, alone again.  It was an understated moment, perfectly observed. Read more here.

New York Press

December 9, 2009

“An inquisitive, rigorous process lies behind each of Aynsley Vandenbroucke’s dance works…. She creates meticulously distilled pieces in which she scrupulously avoids falling back on movement that is learned or familiar.” Read More

Culturebot

December 8, 2009

I remember dancing in the aisles of the Dorothy Chandler Pavilion during intermission at around age 5. Pretty shortly after that I decided I was going to move to New York when I was an adult. While my friends drew pictures of houses and picket fences, I drew modern high-rise apartments. I now divide my time between NYC, where most of my teaching and choreographing takes place, and the Catskill Mountains, where my husband and I run a center for contemporary performance and visual arts, Mount Tremper Arts. Read the rest here.

The New Yorker

May 31, 2009
“An investigation into the relative abstractions of movement and verbal language, it’s a kind of cross between refrigerator-magnet poetry and musical chairs. Since the twenty-six words include man,woman,and child, along with sea, grave, and flying, a story keeps coalescing. The word touch shouldn’t necessarily turn the story into one of longing, but it does.”
 

The New York Times

May 15, 2009

There is a certain appealing simplicity about Aynsley Vandenbroucke’s “3 Dancers, 4 Chairs, 26 Words,” which opened on Thursday night….For the most part, the women don’t dance in any traditional sense of the word. Ms. Vandenbroucke creates clear, pared-down movement, walking and turning, gestures to the side, a hand to the face, that works well with the allusive, associative piece, lighted with shadowy care (and huge Kara Walker-like shadows) by Nelson R. Downend Jr. ’3 Dancers ‘ is modest in its aims. But it has an integrity that many grander projects don’t achieve. read more

The New York Times

May 15, 2009

Aynsley Vandenbroucke is an elegant, sensitive thinker.

The Village Voice

May 13, 2009

As curator and choreographer, Vandenbroucke craves formal exploration. After graduating from the University of North Carolina School of the Arts, she briefly quit dance, unable to find meaning in questions like, “How high can your leg go?” Eventually, like many before her, she discovered ways of addressing other questions, lately through verbal means—one piece using “The Love Song of J. Alfred Prufrock,” another teasing stories out of 26 scrambled words. Read more here.

WAMC 51% Interview

June 26, 2008

Today we introduce you to a dancer with a difference. Aynsley Vandenbrouke, dancer, choreographer and founder of the Mount Tremper Arts in New York’s Catskills…was told by her teachers that she thinks too much to be a dancer. She’s rebelled against the rules that make dancers obedient robots with perfect technique. Her work combines thought with everyday motion. Listen Here.

Audience Member

June 20, 2008

It’s like moving philosophy.

Attitude, The Dancer’s Magazine

June 15, 2007

Aynsley Vandenbroucke Movement Group’s “And How Should I Begin?” borrows heavily from T.S. Eliot’s poem “The Love Song of J. Alfred Prufrock” while being a wholly imaginative visual poem of its own. Her work shows thoughtfulness, dedication and pluck. [The piece] asks a simple question, answers with a wealth of variations, and leaves a lot of room for the viewer to also ask, and how should I begin? No matter how, just get started.

The New Yorker

April 26, 2007

In her new trio “And How Should I Begin?,” the gifted young choreographer struggles with T. S. Eliot’s “The Love Song of J. Alfred Prufrock.” The poem is both muttered sotto voce and recited outright, and Vandenbroucke draws upon its teacups, sprawled bodies, magic lanterns, and mermaids riding the waves. Yet the dance, measured out in super-brief vignettes, is strongest when it treats the poem’s melancholy obliquely, using photocopies of the poem to wall off or connect the dancers.

Litkicks.com

April 23, 2007

…I found the experience dazzling.link here for article and interview related to “And How Should I Begin?”

The Village Voice

September 20, 2006

The hazards in a mysterious, quite intriguing excerpt from Aynsley Vandenbroucke’s “Full Circle” are more playful in nature. To live music by Leanne Darling, and in near total darkness, two women in white train flashlights on two others-making them jump-rope over beams, penning them in, spotlighting their squiggling feet before each gets her own lamp and tries in vain to pinpoint everyone else’s fast-moving steps.

The New Yorker

May 10, 2006

The work of this talented young choreographer has invited comparisons to Cunningham and Butoh, but it more boldly recalls the very beginnings of modern dance.

The New York Times

April 6, 2005

Watching Aynsley Vandenbroucke’s “Seven Times Fall Down, Eight Times Get Up” on Thursday night was like attending a service in an unfamiliar house of worship, ritualistic, meditative.

Martha Myers, Dean Emeritus of The American Dance Festival

November 20, 2004

Aynsley Vandenbroucke is an intriguing young choreographer, exploring extremes, essences of emotions and actions. Her work is thoughtful, intense, minimalist, puzzling. Its images hold in your mind, inviting you back to ask questions, rethink aesthetic assumptions.