Photos by Edward G. Sharp except where: Steve and Cassie Kemple (Cincinnati), and David LaGaccia (Kingston, NY)
Check out our tour blog for more media and all the dates HERE
Feb 28: Climbing Through The Hole in the Sky, with Rachel Hrbek, Natalia Panfile, and Renée Regan, curated by Eames Armstrong, Hole in the Sky, Washington, DC
March 1: The Fold, Rockville, MD (https://www.facebook.com/fold110)
March 3: Skylab in Columbus, OH
March 5-7: Lexington, KY (University of Kentucky)
March 6: I.D.E.A.S. 40203 Contemporary Art Chamber of Commerce, Louisville, KY
March 8: The Lemp Neighborhood Arts Center, St. Louis, MO (http://www.lemp-arts.org/)
March 9: Charlotte Street Settlement, “Let’s Make a Mess” with Drew Roth, curated by Danny Orendorff as part of his “Tyranny of Good Taste” exhibition, Kansas City, MO
March 10: Kent Bellows Studio, Omaha, NE 7pm w/Neil Griess
March 11: SPATIVM, Lincoln, NE w/Woven Symbol
March 13: Counterpath, Denver, CO
(http://counterpathpress.org/esther-neff-march-13-2014-at-700-pm). Play-lecture by Esther Neff, performed by Ye Taik and Black Sheep Organization
March 15: Evolution Collective, Madison, WI
March 16: Bring in the Indigo: Performance from NY & MPLS curated by Fire Drill. Emily Gastineau and Billy Mullaney + Samantha Johns + Hiponymous, The White Page, Minneapolis, MN (https://www.facebook.com/events/730366600336298/)
March 17: Center Street Free Space, Milwaukee, WI
March 18: MANA/High Concept Labs, Chicago, IL w/ Adam Rose and Alejandro Acierto
March 19: Three Rivers Public Library, Three Rivers, MI
March 20: Detroit Contemporary/C.A.I.D, curated by Spread Art, Detroit, MI (https://www.facebook.com/detroitcontemporary)
March 21: Ohio State University, Columbus, OH, 11:30am-5pm curated by Robert Derr
March 22: RCN Cave, Akron, OH
March 24: Experimental Music at the Library, curated by Steve Kemple, Cincinnati Public Library, Cincinnati, OH (http://www.cincinnatilibrary.org/)
The Comet, Cincinnati, OH
March 26: Firehazard Studios w/ Submisstress, Dream Weapon, Daniel McCloskey and others, Pittsburgh, PA
March 30: Machines With Magnets, RI w/ ISLANDS + Ian Deleón and Anabel Vázquez (https://www.facebook.com/events/1452710518280193/)
March 31: 119 Gallery, Lowell, MA
Amanda Gutterman visited PPL’s project space a month or two ago and recently featured our little garage in North Brooklyn in her photo-article Studio Start-Ups. Gutterman frames the projects/spaces she explores as forms of alternative entrepreneurship and as part of a national startup scene. We are flattered by inclusion and proud to be aligned with many of the claims as to what this means as she writes that “These entrepreneurs have made deep commitments to promoting artists of all different backgrounds, and helping them produce astounding work that broadens and challenges what has come before it.”
But (there’s always a ‘but’ with you, what, are you going through Saturn return? [thanks Chloë]) we are a little confused by being called “entrepreneurs.” Considering entrepreneurship, we are keen on the idea that this can mean investment in something other than federal currency, that it can mean a vision for an organization or institution that pulls together resources to benefit a group. It doesn’t have to mean a business. But it seems like the idea is to at least self-sustain, financially, to operate “in the black” like a business.
So is our space a business? Is it a startup? We are unsure/insecure about this. Our anxiety manifests itself as shaky performance of entrepreneurship, i.e. inconsistency in asking people for a donation at the door, varying rental prices and flexible financial agreements with different individuals and groups as dependent on situation, writing-on-envelope-type finance management, and a pretty bad record regarding self-sustainability/making rent.
We make approximately a lil bit from shows (usually $120 or so a night, including donations towards drinks), then we pay the artists as much as the door made, and have quite a bit less after we pay Brooklyn Brewery for their subsidized sponsorship, then the rest goes to mop heads, toilet paper, ice, lightbulbs, washing towels, wall paint, and fixing everything that keeps getting broken. The rent here is $1,450. So when we break even in these other areas, each organizer here usually ends up paying approximately $500 (with utilities, internet) to live and work here. This is pretty good, we hear, for a live-work situation in New York City. We work odd jobs, often as artists, outside of at PPL, and we live in the space. Anything beyond just barely scraping by isn’t an expectation. We have a space because 1.) we inherited it from Spread Art, a community organization now based at Detroit Contemporary 2.) we are working artists and need a place to rehearse and build things, and 3.) most importantly, because we believe so strongly in the work of so many other artists, and we want them to have a place where their practices and ideas are given audience/participation/attention.
Poverty is a real problem across the communities of which we are a part, geographically, socially, and artistically, and we don’t expect free rent, let alone getting paid for curating/ organizing/ cleaning/ setting up/running shows. When somewhat artificially separated from overarching lifestyle of the studio residents however (perhaps another characteristic of “studio startups”) the possibility of our space being quite a bit more self-sustaining hinges on one small change that we’ve resisted, for perhaps childishly ideological reasons: charging for realsies at the door.
Currently, our events are pretty much advertised as free, and most people choose not to pay or really can’t pay. We understand when people can’t pay, because we go to other shows and don’t pay, or we go to far fewer shows than we’d like because the venues charge. It’s super difficult to justify charging $10, or even $5, because this would actually prohibit our neighbors and friends from coming over. We do feel that the work performed here is valuable, and your attention is valuable too, but all we can really do is ask that people who DO have “real jobs,” or some other source of income, contribute when they attend events. Even beyond us trying to pay the rent here, we know how much it really, really helps when small and alternative spaces PAY THEIR ARTISTS, even a tiny bit.
This comes back full circle as we all open our own “startups” (most of which don’t pay artists right now because they’re paying their rent with that money). The point is, we may or may not be entrepreneurs as individuals, but as a community of startups, somewhere, the buck must hit the hat in order for little spaces AND the artists who need them, to survive.
So first, please consider donating when you come to PPL, and thank you to those who have donated in the past. If you can give a little more, make a tax-deductible donation online through our fiscal sponsor. Our projector bulb is burnt out and a new one is $60.
Second, we plan to launch a series of workshops this winter. They will be cheap skillshares, classes, and lessons taught by extremely skilled professional artists in our community. If you would like to teach a workshop, contact us at email@example.com. If you want to hear about them, join our mailing list.
See more images of projects and events this past year at PPL HERE.
Panoply Lab (the collective) in conjunction with Panoply Performance Laboratory (the space) is holding an Open Call for PERFORMANCY FORUM to open up this platform beyond our curatorial horizons and interpersonal relationships.
First, please read the information about PERFORMANCY FORUM and Space Conditions below. If you are interested in the platform please send an e-mail to firstname.lastname@example.org with the following:
1.) REASONS YOU MAKE PERFORMANCE WORK or ETHOS or ABOUT YOUR PRAXIS (to help us form each PF around the work and individuals involved)
2.) PROPOSED DURATION FOR A PERFORMANCE
3.) TECHNICAL NEEDS/MATERIALS TO BE USED
4.) WORK SAMPLES OR LINKS
…and any other information you would like to include. We do not require that you know in advance what your performance will “be,” only that it has formal impetus. (If you are proposing a “scripted” “choreographed,” “composed,” or “scored” performance, please feel free to include a description).
Monday, September 23
Sunday, September 29**
Thursday, October 10
Saturday, October 19
Monday, November 11
Saturday, December 7
Saturday, January 4
PLEASE NOTE WHICH DATES YOU ARE AVAILABLE IN YOUR PROPOSAL.
Exhibitions have each taken unique forms, including “cabinet” (one performance after another, followed by a discussion), “simultaneous” (durational performances all happening in the space or overlapping), single durational and/or social/relational/interactive performances, “group workout,” “research office” and many others. If you have an idea for form, please also include in your proposal.
PERFORMANCY FORUM is a clustering, condensing, and critical effort comprising interdisciplinary exhibitions (emphasis on performance art, social performance practices, and participatory/publicly engaged work), workshops, conferences, actions, events, and more.
PERFORMANCY FORUM began in 2009 as a project of the Panoply Performance Laboratory (PPL) while the collective was in residence at Surreal Estate. It has since become an open project, collaborating with spaces, sites, curatorial collectives, and many others to:
1.) Forge IN-PERSON relationships (including collaborations) between artists from different artistic mediums and micro-communities.
2.) Perform collective research, including contextualization of current performance and social practices within historic, economic, socio-political, and aesthetic genealogies.
3.) Provide a site (physical and cognitive) for complex and critical thought beyond academic and other institutional parameters, for political and cultural organization amongst artists, and for experimentation with modes, methods, and mediums in conjunction with concrete practice.
4.) Involve publics of ‘artists’ and ‘non-artists’ alike in constructive, collective, and critical analysis and debate of artistic operation.
PERFORMANCY FORUM is curated by Panoply Lab (Esther Neff and Brian McCorkle)
If your proposal is accepted, we ask that you schedule a site visit with us if you have never been to PPL. We allow almost all forms of mess, fire, nudity, drilling holes, hanging things from the ceiling, etc. Sidewalk, nearby baseball diamond, and other public areas are usable in addition to the approx. 20′X20′ whitebox. We have PA, microphones, music stands, small tables, chairs, a piano, a projector, and clip lighting.
******asterik notes from schedule***********
*The space also hosts “Performance Art Open Space” on the first Sunday of every month for works-in-progress and 10-minute actions without the critical framework of PERFORMANCY FORUM. Sign-up begins at 5pm day-of.
**NOTE: September’s durational performances will take place at goodbye blue monday on Sunday, September 29 as part of Experi-MENTAL Fest 5 and will feature Sindy Butz, PPL, and Geraldo Mercado. This exhibition is closed for submissions.
Thank you for your interest!
PART I: September 6, 7, 8
PART II: September 12, 13
Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater is being held to communally research how theorizing is performed. We use the word “the-ater” to frame performance modes that propose a way of seeing, or “the-ory.” We seek to enable serious consideration of the ways that performance constructs ways of knowing, but also ask how dramaturgy and other “theatrical” ways of knowing inform and sometimes restrict discursive and dialogic processes at large.
Therefore, at the core of this conference is performance. The conference begins with four plenary presentations, all in the form of performances, by Amapola Prada, Reality Research Center, Kikuko Tanaka, and Mike Taylor. Each of these will be followed by a moderated discussion. The responses by conference participants will discuss, derail, and embody theater-as-theory.
CONFERENCE REGISTRATION is $50 for full access* to the two public weekends of the conference. Register here: http://theaterastheoryconference.bpt.me/. Entrance to any of the public events individually is $10 strongly suggested donation (or DNA in the form of hair or fingernails at Glasshouse).
*August 31st-September 4th is Acts I, II, and III of the Reality Research Center’s “Symposium.” The piece is a workshop-format performance for 12 individuals during the day. Participation is first come, first served and will occur at Momenta Art. Please note in your registration if you are able and desirous to participate in this aspect of the conference.
Friday Sept 6
5-8pm Amapola Prada / Plenary Performance
8pm Amapola Prada / Moderated Discussion
< dinner break >
10:00-11pm Kikuko Tanaka / Plenary Performance (Panoply Performance Laboratory)
“Poultry Paradise and Its Discontents: Nightshifts”
Saturday Sept 7
4:00-5:00pm Kikuko Tanaka / Moderated Discussion (Panoply Performance Laboratory)
7:00pm-12:00am Reality Research Center / Plenary Performance Act IV*
Dinner will be provided.
[Note: Only the 12 audience members from Acts I-III can participate in this final, inner sanctum Act IV of "The Symposium"]
Sunday Sept 8
1:00-4:00pm Mike Taylor / Plenary Performance Part I (Glasshouse Projects)
4:30-5:30pm Reality Research Center / Epilogue and Moderated Discussion (Glasshouse Projects)
6:00-7:00pm Mike Taylor / Plenary Performance Part II and Moderated Discussion (Glasshouse Projects)
Moderated by Gavin Kroeber
7:30 Casual drinks & wrap-up discussion
In this intervening week, invited conference participants (scholars, artists, writers, and others) construct responses to the four plenary works in the form of performances, dialogues or writing. These works are performed or read on the following two days:
Thursday Sept 12th
7-10pm Participant response panels and performances (Glasshouse Projects)
Friday Sept 13th
7-11pm Participant response panels and performances (Glasshouse Projects)
– In conjunction with a closing party/Glasshouse residency opening –
246 Union Avenue
Panoply Performance Laboratory
104 Meserole Street
Amapola Prada lives and works in Lima, Peru. Her practice navigates the intimate spaces within human beings unprocessed by consciousness and expressed by non- rational impulses to create symbolic works resonating the social conflicts of everyday life. Her performance work has been presented by the Hemispheric Institute of Performance and Politics, Belo Horizonte, Brasil; Performa 11; the Museo de Arte Contemporáneo de Oaxaca, Mexico; and the II Bienal Internacional de Performance in Santiago de Chile, Chile. In 2011, as a Franklin Furnace Fund Fellow, her solo exhibition Modelo Para Armar: Rehearsing The City was on view at the AC Institute in New York City. She received a BA in Social Psychology from Pontifica Universidad Católica del Perú.
Reality Research Center is a well-known performing arts collective based in Helsinki, Finland. Their works stem from critical perspectives that observe, question and renew the surrounding reality through performative means. During 2012-13 RRC is creating Utopian Reality, which uses the everyday as an artistic medium and invites everyone to reconfigure it with utopian practices.
Mike Taylor is a writer, director, installation artist, and performer across disciplines. Her projects have been performed, read, and shown at The Kitchen, The Invisible Dog, CUCHIFRITOS art gallery, Dixon Place, La Mama, TONIC, and elsewhere. She has recently collaborated with Ralph Lemon, Lance Gries, and, her primary collaborator in this experiment, Iki Nakagawa; and has worked extensively with Meredith Monk, Yvonne Meier, Sibyl Kempson, John Jesurun, Urban Bush Women, Richard Foreman, Dar-A-Luz, Conway & Pratt Projects, The Wooster Group, The Ridiculous Theatrical Co, and many others.
Born and raised in Japan, Kikuko Tanaka is a frantic artist based in New York. She has performed and exhibited in various venues, including Smack Mellon, Momenta Art, NARS Foundation, Center for Performance Research, Amelie A.Wallace gallery at SUNY Old Westbury, Glasshouse, Vox Populi, Arario Gallery and Panoply Performance Laboratory among others. Her work has been reviewed in Art in America, Art Info, and Hyperallergic. She was a nominatee for a Rema Hort Mann Foundation Visual Art Grant in 2010. Her open-ended multi-media tragicomic epic, A Tragic Bambi, is fiscally-sponsored by New York Foundation for the Arts. She has a cross-disciplinary background in her education. She holds a BA in Landscape Design from Chiba University, and has studied fine art at School of Visual Arts, and interdisciplinary study at Hunter College and Graduate Center, New York. She is also a co-founder/ co-director of a not-for profit organization, Agape Enterprise, Brooklyn, New York.
Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater was established by Esther Neff (Panoply Performance Lab) and Yelena Gluzman (Science Project / UCSD / Ugly Duckling Presse). It is sponsored by an Honorary Fellowship for Utopian Practice from Culture Push.
To contact the organizers, please email email@example.com.
Thank you, thank you, and thank you, for making the Brooklyn International Performance Art Festival (BIPAF) what it was…what was that???!!!
CHECK OUT ONLINE IMAGES AND OTHER MEDIA FROM THE PROJECT:
Performing Media Partner: Hyperallergic
Images from the first week of BIPAF
Images from the second week of BIPAF
Images from the third week of BIPAF
Article about La Pocha Nostra
Article about The Super Coda
Article about No Wave Performance Task Force’s Labor Debate
BIPAF is the Best Thing to do this month!
We survive at the end of this article about Jay-Z and Marina
Check out Hrag Vartanian’s FLICKR STREAM for BIPAF photos in their Brooklyn context
OTHER SELECTED PRESS:
Art is Life is Art on BrooklyntheBorough.com
Eames Armstrong mentions BIPAF in the Washington Post
An much abridged and subjectively notated guide on Culturebot
State of the Art
Art Parasites.com article
An Art Filled Cavity on La Pocha Nostra
TAB and BIPAF in the NYTimes
AND organizer Esther Neff talks about BIPAF on GRITtv