Pam Tanowitz choreographically pulled time and space out of joint in the works Pam Tanowitz Dance presented Sunday night as part of Danspace Project's City/Dans series.

Much of "Swan Song Once Removed", a compelling new solo for Rashaun Mithcell to recorded music by Garth Knox, was filled with deliberately off-balance movements.  As he kept bending and straightening, Mr. Mitchell appeared to be reaching out across a wide space.  Yet he would suddenly shrink back, as if withdrawing into himself.  An elegant stretch of a leg was often followed by a sharp twist as if he portrayed someone in a precarious position struggling to maintain bodily control.  And winglike extensions of his arms made this "Swan Song" recall doomed balletic birds.

"Afterpiece", another premiere, emphasized contrasts between fast forwards and slow motion to music by Dan Siegler.  The choreography let Katie Brack, Megan Brians, Sally Donaubauer and Anne Lentz zoom ahead, then unexpectedly ground them to a halt.

The evening also included two recent dances that have retained their appeal.  Tom Gold, of the New York City Ballet, was once again the guest artist in "Informal" (2001), dancing with Ms. Lentz and Mr. Mitchell to a rhythmically varied score by Mr. Siegler played live by Julianne Klopotic, violinist; Egil Rostad, cellist; and Mr. Siegler, pianist.  Here Ms. Tanowitz combined her love of slowings and accelerations with impishly off-kilter balletic steps.

But the dignified way in which slow and fast sequences alternated in "Monument (for Viola)", from 2000, gave this piece to recorded music by Corelli a ceremonial quality.  It was danced with appropriate gravity by William Petroni, Ms. Brians, Ms. Lentz, Mr. Mitchell, and Ms. Tanowitz.