Jonathan González is a Dominican-American artist practicing at the intersections of choreography, sculpture, text, and time-based media. Their practice speculates on circumstances of land, economies of labor, and the conditions that figure black and contemporary life through research-based processes synthesized through performative assemblages.

González’s work ZERO (2018) presented the history of slave trafficking practices against the architecture of St. Mark’s Church, and was nominated for a New York Dance and Performance "Bessie" Award for Outstanding Production. Lucifer Landing I, a commissioned work presented at MoMA PS1 in 2019, proposed the idea of a solitary dwelling as a choreographic action. This installation, with original score and film, conceptualized mutual aid efforts of June Jordan and CHARAS in the form of a geodesic dome through which visitors were encouraged to move, one-by-one.

González’s Illusion Procedures played with the iconicity of cool, the mundane and the political instrument of visage within the traditions of theater, the stage, and representation, and was presented at The Studio Museum in Harlem as part of their symposium Culture in a Changing America (2017). Their writings have been published by 53rd State Press, Contact Quarterly, Cultured Magazine, and deem journal.

In 2019, González was a New York Dance and Performance “Bessie” nominee for Breakout Choreographer. They have received fellowships from the Art Matters Foundation, Foundation for the Contemporary Arts and the Jerome Foundation, and were an artist in residence at the Lower Manhattan Cultural Council, Maggie Allesee National Center for Choreography, Loghaven Artist Residency and the Shandaken Project on Governors Island.

González is a graduate of LaGuardia High School for the Performing Arts and has a B.A. from Trinity College, an O.Y.P. from Trinity Laban Conservatoire, and an M.F.A. from Sarah Lawrence College.

Artist Statement

I compose choreography in the expanded field. These works emerge out of research-oriented practices catalyzed through a investment in the political terrain of the Black Radical tradition and abstraction. These projects are efforts in worlding and/or revisitations on themes of the built environment, economies of practice and data, and the political utility and memory of embodiment. My practice is often collaborative with the intent to expand the accumen of practices in any creative process, and to highlight otherwise modalities of making. Even in the form of objects, many of these works are performative and corporeal, at times manifesting as constructed items typically used for manual labor and/or choreographing biological material. I am particularly intrigued by what becomes disrupted through the social act of witnessing, participation, and communication.