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PERFORMANCY FORUM: CIVIC REFLEX is a collective performance/social art project involving: 1) the formation of a self-reflexive collective of 20 artists/groups 2) a series of 5 public forum events and 3) an online blog substantiating and framing “civic” “civil” and “reflexive” performance practices and performative theoretics. PERFORMANCY FORUM: REFLEJO CÍVICO es un colectivo de arte social y performance  que consiste en: 1) la creación de un colectivo de 20 artistas/grupos que se comporte de manera auto-reflexiva 2) una serie de 5 eventos/foros abiertos al público 3) un blog online dedicado a proveer contexto y enmarcar teóricamente prácticas de arte performático, civil, cívico y auto-reflexivo.

http://reflejocivico.civicreflex.us/

The 20 artists/groups will meet on each of the five Saturdays for collective forum discussion and interaction, followed by performances/presentations/situations on each date starting at 8pm, FREE AND OPEN TO THE PUBLIC.

April 21, 8pm. Public performances/presentations by: Diane Dwyer, Benjamin Lundberg Torres Sánchez, Rina Espiritu

May 26, 8pm. Public performances/presentations by: Pei-Ling Ho, Daniel Gonzalez, Nana Ama Bentsi-Enchill

September 29, 8pm. Public performances/presentations by: Aditi Natasha Kini and Amin Husain, Leopold Krist, Megan Livingston, Feminist Art Group (F.A.G.)

October 20, 8pm. Public performances/presentations by:  Amelia Marzec, Samantha CC, Sierra Ortega, Verónica Peña

November 10, 8pm. Public performances/presentations by: Ada Pinkston, Lorene Bouboushian, Arantxa Araujo, Helen Yung, David Ian Bellows/Griess

CIVIC REFLEX/REFLEJO CIVICO is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC). The project is administered/conceived by Esther Neff, participant selections were made by the PERFORMANCY FORUM committee via an Open Call.


Please visit PPL on Facebook and the PPL Website for Event information

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salis_performance30Embarrassed of the Whole (EotW) Phase III (click HERE for Phases I [tour] and II [usership operations]) culminated through a series of engagements, August-October 2017:

Focus Workshop at Salisbury University
Movement I performance at Salisbury University (images)
Interactive Exhibition at the Electronics Gallery (Movement II) (images)
Movement III interactive/relational performance at W.O.R.K Gallery

VIDEO OF MOVEMENT I PERFORMANCE: https://www.youtube.com/edit?o=U&video_id=a-d2fn15KcI

Thank you so much to Tara and David Gladden for hosting/curating us!

IMG_0571(image above: PPL during “Constance Vigilance/Our Social Eye(s)” at Glasshouse, June 23, 12am-12pm, photo by Brian McCorkle)

June 28: PPL as punk band “Grout Pomade” generated by Geraldo Mercado’s usership of Embarrassed of the Whole @ the new Secret Project Robot, organized by Gold Bolus Recordings: https://www.facebook.com/events/1193338950794107/

up next after that…

July 13-23, 2017 @PPL + Grace Exhibition Space,  JUST SITUATIONS: a performative convention (organized by Esther Neff, Leili Huzaibah, Kaia Gilje, and situating artists/active citizens)

Friday, July 29, 8pm PPL at Le Petit Versaille as part of Karl Cooney’s PERFORMANCE SERIES

August – October, 2017
PPL in residence at the Cage House in Chance, Maryland and solo visual exhibition at the Media Gallery at Salisbury University, performances and workshops with students and presentation of opera-of-operations at WORK Gallery

OPENCALL.jpgJUST SITUATIONS will take place across two weekends in July, 2017 in Brooklyn, New York:

Thursday-Sunday July 13th-16th
Thursday-Sunday July 20th-23rd 

Justice, it is said, must not only be done, it must be seen to be done (Homi K .Bhabha)

JUST SITUATIONS hosts artists, activists, and active citizens who are working in performative ways, moving beyond the trending commercialization of art “about” politics, instead seeking modes of performance which directly construct, position, and posit political, social, and embodied forms of human being and becoming.

Those gathered to perform this convention are ideally enabled to situate and posit some space-time-frames, modes, ethical (en)compassings, arbitrations, motivations, and social (as)semblance for situations in which justice may be done, seen, and seen being done.

We are directly constructing some situations in which, in and as small diffractive social groups, “we” imagine “we” may actually survive. This convention and forum aims (with no small feeling of embarrassment, naiveté and other emotive symptoms of outsiderness) to envision performance art, civic performance, and social art practices as theoretical and actual materializations of in-context equities, reparations, respectfully agonistic relationships, post-capitalist orders and economies, socio-ethical philosophies, self-realizations, and perhaps, liberations and so-seen justices.

JUST SITUATIONS is organized like an inventor’s exhibition or science fair. By framing everything occurring during the time-space of these eight days as just situations, or situation of justices, acts and social behaviors which are often seen as casual, common, as mere entertainment or luxury product, as dysfunctional, dangerous, foolish or impossible, as parasitic, private, and/or worthless within dominant schemas for value, are given primacy, seen as scientific breakthroughs and transformative political vehicles. Traumas are worked through instead of commodified, intersectional recognition of identities is practiced rather than merely hashtagged, constructive ideation is performed as a common, daily intra-activity, natures for human being are performatively reconfigured, dreams are staged as news, our bodies are on fire, our eyes glow in the dark.

We’ve shown you ours…if you’re interested in engagement, please make a proposal (in any form) responding to (agreement, disagreement, re-phrase, dialogue, reaction, etc) one or more of the following INQUIRIES, or propose an inquiry of your own (in any form) and e-mail to us at justsituationsconvention@gmail.com by May 15th

INQUIRIES

1. How can situations be said and seen to be “just”?
2. How are we practicing experimental metaphysics?
3. How are we practicing queer(ing), Black, indigenous/native/authorized/originating, female/femme, trans(formative), migrant/itinerant, ethically-oriented, alternative, (re)constructive, and (e)strange(d) ways of thinking/feeling/sensing/perceiving/becoming/being, are “ways” autonomous from persons in any way?
4. How are we theorizing forms of entanglement, intersection, and relationship?
5. How do we resist reductive inscriptions of/upon our bodies, enabling our actual(izing) presences to materialize in far more complex and particular ways?
6. How does performance art activate (as “activism” and as “affective influence”) actual political activities and conceptual transformations of human cultures, polities, institutions, and systems?
7. What do we mean when we say “the personal is political”?
8. Performance art is not “about” politics, it can not be “about” anything; there is no material schism between “real conditions” and “performance artifice:” all that is seen, heard, tasted, smelled, touched, emerges from embodied cognition, location, and positioned performance.
9. Because we are not universalists, essentialists, righteous fundamentalists, or objectivists, we do not suppose that our performances are inherently “true,” “right,” or “of quality to everyone,” is this the reason to distinguish modes of performance—for example “social” vs. “art” performance—? Does the sphere of “art” maintain some meaning and/or use? For example, do we add the word “art” to involve senses of intentionality, aesthetic and ethical decision-making, agency, dysfunction, radicality, and/or autonomy?
10. How do performance artists make sense? (full stop)

Here is a list of forms we are welcoming (in no way is this a complete or mutually-exclusive list):

-de-hierarchized forms of social performance
-constructive institutional critiques
-imaginary and proposed projects
-impossible projects
-participatory and interactive performances
-personalized and intra-personal performances
-environments and installations
-proposals for travelling actions, “art-form” marches, demonstrations, protests
-interventions and intervening projects
-performances of research, inquiry, investigation
-presentations of independent research and social knowledge-constructing activities
-discursive performances i.e. panels, workshops, roundtables, with performative forms
-social arts projects and “community arts” work (performed directly or performatively presented/described)
-presentations on projects happening already “elsewhere” and “outside” arts spheres and institutional spaces, “non art” projects
-magic(k), chaotic transformations and abreactive expressions
-rituals, prayers, ecstatic and generative performances
-metaphysical experiments (i.e. time travel, architecture, invention)
-performative technologies
-readings of texts and lectures
-AI and digital performances
-critical performances (framing and criticism)
-public interventions (including those in legal and governmental spheres)
-interrelative projects, daily practices, private performances, dinners, chores, etc
-travelling actions, tours, multi-site connections and corridor-formation
-domestic performance
-life=art
-art=life

Timeline:

Deadline for proposals: May 15
Dates of the convention: July 13-16 & July 20-23, 2017

Some deadline have been set in advance to make it possible for those involved to organize this thing together and in practical conjunction with jobs, travel, childcare, etc: please be advised that if you do this with us, we will need to have all public information about this project gathered and finalized by May 22 for PR and online presence. Full conference schedule will be released no later than June 1. All tech needs, requests for housing, requests for childcare, requests for formal letters of invitation etc to the initiating organizers by June 15.

Notes on money and power:

This convention is all-volunteer and there is no institutional support. Mutual support between this project and those involved is performed on a relative and situational basis. In short, there is no funding for materials, travel, or honorarium right now, but we are doing a crowd-sourcing campaign to fund travel and performers/presenters. Proposals for economic frames/structures for this project are also welcome. In addition, there will be a “default DIY” pay-what-you-can-at-the-door situation with proceeds going to the performers/presenters/participants that day.

Initiating organizers (Leili Huzaibah and Esther Neff) reserve the right to determine which proposals and persons will be formally involved with this project via an open call and invitations, based on subjective judgments and intra-personal relationships and experiences. In this case, investment and labor equals power, not an ideal situation but an intermediary one.

The online survey for EotW–through which users generated controlled experimental environments, lines of inquiry, and/or “theatrical/theoretical vehicles”–closed January 1, 2017. 64 qualified users completed the survey.

This January, we are now meeting with users who chose to become collaborating co-operators. We are also designing participatory scores for users who chose that mode of engagement, devising scores to “present” subjected users who selected the option “Present As,” and building out the PPL site to house the performative research generated via these and other online and embodied processes. The forms of research which have generated forms that might be considered “opera performance” are open to the public (at 104 Meserole Street, Brooklyn, NY):

Friday, February 3, 8pm: “Christen”
Saturday, February 4, 3pm-6pm: “Nina Isabelle” 8pm and onward: “Geraldo,”“samuel”
Sunday, February 5, 8pm: “johannagilje”
Monday, February 6, 8pm: “aliftig,” 9pm: “elizabethlamb”
Tuesday, February 7, 8pm: “diane”
Wednesday, February 8, 8pm: “Sumo”
Friday, February 10, 8pm: “huckjackhexjar”
Saturday, February 11, 6pm-onward: “LukeJM,” “Tsedaye,” “jgladstone”
Tuesday, February 14, 4pm-8pm: “lovelovelove,” 9pm: “belel”
Wednesday, February 15, 8pm: “daver,” 9:30pm: “crossoffice”
Thursday, February 16, 8pm: “Jessica”
Friday, February 17, 7pm and onward: “Valera,” “Zhen,”“Aranzazu,”“raziaisthenameofmycat”
Saturday, February 18, 4pm-6pm: “ElaineThap,” 8pm: “aevi and me”
Wednesday, February 22, 7pm: “jamieburkart,” 8pm: “BenjaminL/T-S,” 9pm: “Adrift Dismantled”
Thursday, February 23, 8:00pm: “Violistakaren,” 9pm: “IV,” 10pm: “Sierra.Elena”
Friday, February 24, 8pm: “Valerie Kuehne,” 9:30pm: “It’s Me,” 10pm: “2sad4dismrkfrshspnch,” 11pm-exhaustion: “abandonedtires”
Saturday, February 25, 7pm: “ilzost,” 8pm: “imageobject,” 9pm: “cafecafè”
Sunday, February 26, 5pm-unknown: “dahvvv”
Monday, February 27, 8pm: “lolotrashbo”
February 28, 8pm: “tinyfruit”

*Users who selected option “F” generate likelihoods and may or may not be “performed” in forms recognizable as “performance” at some point or throughout the month: “Christine O” “BluMom” “laureljay” “hollowobscenity” “cat” “linzdrury” “MatthewGGannt” “Linda” “me” “ultradella” “pmqwerty” “Cbxtn” “Queena”

We are not whole / You Complete Me / use me / this is not my system / we are not chaotic, we are chaos / we the (un)incorporated

http://www.panoplylab.org/eotw

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