Yin’s “A Measurable Existence,” carried out by Obremski and Jake Tribus on Tuesday, begins in calmer territory, a seemingly placid duet. Nonetheless, it takes a strong and satisfying flip as a part of the illuminating grid descends, a slash that cuts by way of house, rendering the dancers extra vibrant and revealing a extra sinister facet to the connection. their relationship. (Asami Morita designed the sunshine, which continues to replicate or direct the dancers’ power.) The fluid and sophisticated collaboration carries the duo by way of phases of tenderness and aloofness. Yin permits them to work out the shocking and detailed factors of leverage, like shins nestled in a hip fold, as they cycle between symbiosis and separation, between one and two.
Whereas not precisely creating a brand new background, “A Measurable Existence” is extra concerning the intricacies of relationships, however a lot much less so than Ramírez’s “To the Finish of Love,” a assessment. 28-minute commentary on on-line courting and its alienation influence. Sheets of paper with sarcasm and confessions from courting data — “making dinner bare,” “I’ve two children” — lined the ground. Eight dancers wade by way of these pages and held them up as they circled the stage, typically pausing to share a flirty or longing dance, earlier than being distracted by different love pursuits. (An actor went lacking on Tuesday, which can assist clarify why some elements really feel unfinished.) Ramírez delivered an analogous message time and again. Whereas it’s in all probability intentional, it’s a bit an excessive amount of like a swipe.
Come Saturday at New York Reside Arts, gibneydance.org.