Time Dilation V2
2026
Time Dilation V2 at A Soft Opening, where live-coded visuals generated from choreography footage created a feedback loop between dancer and system. Johan Michalove is an artist, technologist, and researcher whose practice spans live music, audio/visual code, and speculative technology. He is a PhD candidate in Information Science at Cornell University, where his research draws on Lefebvre's Rhythmanalysis to trace the urban temporal cycles of New York's delivery riders: work that informs his attention to rhythm, responsiveness, and the systems that emerge between bodies in motion. This work marked the first public presentation of a collaboration between Robin Denzer and Johan Michalove. Audience members lay about the space in any nook or pillow fort of their choosing among sheer pieces of fabric that hang from the ceiling displaying original video of Robin's choreography which were filmed by Johan Michalove in an experimental session with Robin's collaborators Katerina Belmach and Mary McGrath. In these rehearsals, live code was processed and the dancers could see the effect that Johan was generating in response to their movement. What would happen next was the beginning of a continuous feedback loop — dancers taking information from the code, reinterpreting it in movement, vice versa.
Sawtooth Mouthguard 8
2025
A dancework presented by 42n Studios in collaboration with performers Aimee Grumbach and Tess Neil. Dancers interact with music in the "classical rock" genre — tasks given to the performers allow for abstraction of the music's content, from melodramatic early-2000s Tori Amos to peak-80s Rolling Stones. Inner experience, fetishization, and mass appeal are central themes in this character study, dance piece, and extravaganza.
Aimee Dance with Chest Ornament
2021
Performed at AUNTS, presented by Laurie Berg. This piece features a sculpture fastened to a dancer's chest as she slowly moves through a street in Brooklyn, New York.
Music II
2022
Performed by Robin Denzer and Aimee Grumbach at The Woods. Music II jabs at arguably the most prominent fundamental goal of artistic expression: to paint a candid picture of oneself. Meditation as a somatic exploration and writing were the driving forces that influenced the choreographic development of the work. Made possible by ARTLINE and crowdfunded donations.
Media Man
2020
A series of performances developed at Purchase College as part of Robin's final assignments in Senior Composition under the guidance of Doug Varone, as well as in Video Art. A group of five performers treat the space like a blank canvas — using duct tape, sheets of paper, and poster board to construct a three-dimensional installation while navigating live instructions and being interrupted by sections of traditional balletic steps. A continuation incorporated audience participation; a final solo version used a projector to give movement prompts, emphasizing the qualities of movement elicited when creating objects based on instructions.
Gilvia
2020
Live performance featuring a screening of "Rest of My Life" video piece at "Facetime to Mars" at the Amphitheater. The character Gilvia is followed by a haunting blue figure as she performs a ritualistic sequence of grotesque movements — the antithesis of what some may consider femininity.
Glass Piece
2019
Performed by Katerina Belmach, Kars Dodds, and Kaliope Piersol at Purchase College Dance Theater Lab. A five-minute performance in silence. Each performer moves through the space, changing their improvisational task based on what part of the room they travel to. The space is divided into tracks: downstage, middle stage, and upstage. The piece's title references a window — a barrier between viewer and an outside world. The soloists' visual interaction with each other without any intentional influence on one another creates a naturalistic collage, while the proscenium serves as a window that separates performer from audience.
Rest of My Life / Velvet
2019
Video recorded on handheld camcorder. Puppet made by Robin Denzer. These two narrative works explore the character Gilvia — an overexaggerated character going on various journeys. Reflecting the puppet version of Gilvia's overly exaggerated facial features, the humanoid version's actions and emotions play with turning up the volume of reality. Robin uses Gilvia in this series to comment on drag and its relationship to and distinction from transness.