There’s nothing very remarkable about the Blue Rider space–it’s just another storefront theater with exposed brick walls, a few inconvenient metal structural supports, an industrial-looking security gate over the door to the alley, a weird balcony like some kid’s urban-style tree house. But somehow Nana Shineflug, in her new Crash and Burn, makes this space seem a metaphor for all the harsh conditions of contemporary life, as four dancers from her Chicago Moving Company and Krenly Guzman (borrowed from Mordine & Company Dance Theatre) hurl themselves at each other, at the walls, at the security gate, and cling for dear life. Or they stop dead, backs to us, balanced on their toes, heads arched back as if they’ve been shot running away. And since, as we all know, there’s not enough of anything to go around these days, the dancers also pull the others off their toeholds on the wall and pull each other’s hair. They embrace, briefly, then return without explanation or apology to their mad competition. At times they’re like kids playing war, stowing and employing ammo with a logic we can’t comprehend. Crash and Burn is as plain, rough, and dirty as a brick–a welcome change from some of Shineflug’s more cerebral work. Also on the program are CMC member Holly Quinn’s “nervous dirge,” a trio featuring live music from Winston Damon and his group ULELE, and Peter Carpenter’s “absurd journey” into queerness, a quartet called Little Man You’ve Had a Busy Day. Blue Rider Theatre, 1822 S. Halsted, 733-4668. Friday and Saturday, 8 PM. $10.