Solo Performance at RISK Scenekunst, Stavanger, Norway
Penwald: 4: unison symmetry standing (2010 / 2022)
performance, graphite on paper
3 consecutive days, 4 hr installments
96 x 240 inches (243.84 x 609.6 cm)
Excerpts of performance at RISK
single-channel color video with sound, RT 21:10
Other notable performances:
Penwald: 4: unison symmetry standing (Cranbrook Art Museum, Bloomfield Hills, MI) 2013
Penwald: 4: unison symmetry standing (Helium Space, Chicago, IL) 2013
Penwald: 4: unison symmetry standing (Grand Rapids Art Museum, Grand Rapids, Michigan) 2011
Penwald: 4: unison symmetry standing (Dance Theater Workshop, New York, New York) 2010
Penwald: 4: unison symmetry standing (Shoshana Wayne Gallery, Santa Monica, California) 2011
Orrico stands stationary, facing a wall for four hours, and performs a bilateral drawing within in span of their outreached arms. They access a personal movement practice which uses the felt topography of the body to respond to environmental cues. They simulate and sustain a sense of falling in the body, leveraging the action from incoming stimuli and through spatializing those distances from the body. They repeat this engagement at the same time over the course of three consecutive days with subtle variations in approach. On day one, the left hand is dominant (or choice-making) and the right hand instantly mirrors the pathways. Day two is the inverse of that attention; the right hand is dominant, and the left hand is following. On day three, there is neither cognitive selection nor a sense of following and only a devotion to receptivity. Orrico also breaks the form by bending his knees and rising to his toes. The final installation arrives at a spectral display of effort where the fully integrated experience lands central to the work and hand-dominance and mental coordination fall to the outer edges.
Group Exhibition at signs and symbols, New York
artists & allies V
August 4 - September 30, 2022
Participating Artists: Adam Broomberg, Alison Nguyen, Alex McQuilkin, Annabel Daou, Barbara Gundlach, Carol Szymanski, David Hurlin, Discoteca Flaming Star, Itziar Barrio, Jamie Diamond, JAŠA, Kate Vincek, Laila Franklin, Laura Parnes, Melinda Jean Myers, Michelle Handelman, Mischa Leinkauf, Ornella Fieres, Pola Sieverding, Sarah Anderson, Shelley Marlow, Tony Orrico
Work:
Sound is a body held, 2022
Collaborative Performance with David Hurlin
2 hours
Hurlin and Orrico experiment with the capacity to extract sound from material through full-bodied interventions and the fallout of their fatigue. As the synapses between their dialogic play fade, it is the memory, resonance, and motion of sound that mediates the performers' actions and determines collective course. Sound holds all bodies to the space, anticipating variation and listening for new direction.
Group Exhibition at The Mortin Gallery, Zuckerman Museum of Art, Kennesaw, GA
This Mortal Coil
Curated by Cynthia Nourse Thompson
August 28 – December 11, 2021
Artists: Janine Antoni, Louise Bourgeois, Sonya Clark, Gail Deery, Carson Fox, Markus Hansen, Donna Smith Jones, Anders Krisár, Rosemary Laing, Pixy Liao, Roberto Mannino, Martha McDonald, Oscar Muñoz, Tony Orrico, Dario Robleto, Piper Shepard, and Anne Wilson.
This Mortal Coil was a major contemporary art exhibition that produced an exhbition catalog. The exhibition explored themes of grief, collective trauma, and the fragility of the human body.
Work:
Prepare the plane (PPOW, New York City, NY) 2014
Performance, dental occlusions on paper
Approx. 8 hrs
240 x 240 cm
Example of performance/process
Exhibition Catalogue
Group Exhibition at Casa Wabi Foundation, Puerto Escondido, Oaxaca, Mexico
Memory Shop
Curated by Nicolas Bourriaud
April 24 - January 9, 2021
Participating Artists: Adeline de Monseignat, Adrien Missika, Aldo Álvarez Tostado, Blanca De la Torre, Carla Fernández, Cooking Sections, Dimitri Nassisi, Enrique Schadenberg, Enzo Mianes, Ernesto Solana, Francisco Merino, Galia Eibenschutz, Gonzalo Cárdenas, Héctor Zamora, Iris Touliatou, Iván Krassoievitch, Javier Barrios, James Siena, Jean Sébastien Grégoire, Jeff Silva, Johannes Büttner, Jorge Rosano Gamboa, Julie Escoffier, Keke Vilabelda, Manuel Muñoz, Marco Villa Mateos, Marilá Dardot, Merike Estna, Niki Nakazawa (Pichón), Nobuko Tsuchiya, Phillip Zach, Raphaël Fabre, Richard Wentworth, Romana Londi, Samantha Leiva, Santiago Sierra, Sonosíncresis, Stijn Cole, Sue Webster, Tania Ximena, Tezontle, The Tetorapotz, Tony Orrico, Takao Minami, Yasuhiko Hayashi, Yóllotl Gómez-Alvarado, Izumi Kato
Work:
Bitácora I, BitácoraII, Bitácora III, Bitácora V, Bitácora, VI, Bitácora VII, Bitácora VIII
Graphite on paper
1/1 - 29.5 x 18 cm , 1/2 - 21 x 15 cm, 1/3 - 29.5 x 21 cm, 1/4 - 29.5 x 21 cm, 1/5 - 29.5 x 21 cm, 1/6 - 42 x 14.7 cm, 1/7 - 14.7 x 21 cm, 1/8 - 21 x 14.7 cm
Group Exhibition at signs and symbols, New York
That was then, this is now
November 6 - December 21, 2021
Participating Artists: Adam Broomberg, Annabel Daou, Benoît Platéus, Carol Szymanski, Jen DeNike, Jonah Bokaer, Michelle Handelman, Mischa Leinkauf, Ornella Fieres, Paul Jacobsen, Pola Sieverding, Rachel Libeskind, Sarah Entwistle, Sharon Louden, Shaqayeq Arabi, Tony Orrico and Zander Blom.
That was then, this is now is a group show of the gallery’s artists as the first exhibition to inaugurate our new location at 249 East Houston Street. It is a celebration of our growth and development over the past three years.
Work:
Textile: DIVISIVE CONCEPTS DEVICE, 2021
Graphite on paper
44 x 30 inches
Choreography presented in Strauss Hall at Hancher Auditorium, Iowa City, IA.
UI Dance Gala
October 13-16, 2021
Our Body in Interval, 2021
20:00
Choreography: Tony Orrico in collaboration with the performers
Sound: David Hurlin
Costume Designer: Margaret Wenk-Kuchlbauer
Lighting Designer: Laurel Shoemaker
Performers: Alyssa Alber, Jaki Bass, Kara Bouck, Katherine Shamdin, Madison Holtz, and David Hurlin
This work is inspired by Arawana Hayashi's mindful movement practices and her development of Social Presencing Theater as a series of social practices that promote system-health and generate emergent qualities that make change possible. Our embarkment utilizes these practices to interrogate the choreographic process as a system, sensing "what our bodies wanted to do" from the place of stillness, and using Hayashi's attention to "stuck-ness" as points of processual pivot. With a sense of the sonic-scape and our physicality as one social body in evolution, we attempt to distinguish between our assertions, prioritizing an action-confidence that is deeply relational rather than highly individualized.