“Embarrassed of the Whole (EotW)” is a series of performance-construction processes (opera-tions) operated across digital and embodied interactions.

EoTWdiagram

(above: project overview diagram)

Each process has its own context-specific form, researching, generating, and designing forms of social engineering and social construction via methodological practicing. Throughout “Embarrassed of the Whole,” PPL (Esther Neff and Brian McCorkle with Kaia Gilje) are researching and practicing HOW “social constructions” are consciously and intentionally engineered through interfacings, communications, and embodied relationships. We are interested in conflicts between the online and the in-person, the ontological and the epistemic, the physicalist and the affective. Tentatively, we posit embarrassment as the only sure symptom of a moment of social agency (if not “free action”), of being somehow “outside the whole.”

EotW is a hole, a cut, or sort of tunnel burrowing across three categories:  ONE:  PPL publically gather groups of individuals to collectively philosophize and research “social engineering and social construction” in workshops and focus groups. TWO: PPL gather, chart and index input online through a website of surveys and quizzes, and THREE: PPL form interpretation-schemas to turn “data” from both the publically-gathered groups and the online interfaces into scores, using these scores to engineer live, public, performances.

THESE PROCESSES ARE ONGOING, JUNE 2014-FEBRUARY 2017

Coming up:

#9 Workshop 2: Methodologies between the OntoEpic @ PPL space, 04/19/2015. OPEN TO THE PUBLIC, RSVP to panoplylab@gmail.com

#10: Theories of the Anti-Sight, during PPL-organized exhibition “sounding the alarm: theories of the anti-sight” @ Liebig12 and Meinblau e.V. during Month of Performance Art Berlin (MPA-B), Berlin, DE. 05/03/2015 and 05/05/2015

#11: Curating as Performance Conference presentation, during Month of Performance Art Berlin (MPA-B), Berlin, DE, 05/24-26/2015

#12: Workshop 3/Performance/MART, Dublin, UK 05/30/2015

Also (un-numbered): Resistance & Resilience: Do I Do? Collaboration as performance through a series of durational acts, initiated by Grüntaler9 & Panoply Performance Laboratory @ Grüntaler9, Month of Performance Art Berlin (MPA-B), Berlin, DE, 05/07-11/2015

265546255-eotw_boston(above: #2)

Past:

#1 Embarazo of/with ya @ PPL and participants in person and online during Bushwick Open Studios

#2 Assess your Performance Art Practice FREE Online Generator during Petrichor Exchange, online and @ School of the Museum of Fine Arts

#3 Workshop: The Anti-Sight @ Massachusetts College of Art and Design

#4 Critical Eye Contact @ New Museum in response to Anya Liftig’s A Very Something or Other during the AUNTS for Camera exhibition

#5 The Violence of 5: 1-10, sequence of performances @ Brooklyn Fireproof during Quid Pro Quo @ Eden’s Expressway, and @ Tandem Bar

#6 EotW: Alternatives to Now @ [performance s p a c e], London, UK

#7 EotW: Preferences, during MAD Theory 2, online streaming during Performance Philosophy symposium in Madison, WI

#8 Workshop: Sphere of Definable Conditions, Consequences, and Contexts @ PPL space

No8_2

IMG_9226
(above top: #8. below: Kaia Gilje performing #6, photo by Daniella Vg)

Rae Goodwin: 'calling ancestry' Artpotheek, Brussels, 2014. Photo by Eva Campos Suarez

IMAGE: Rae Goodwin: ‘calling ancestry’ Artpotheek, Brussels, 2014. Photo by Eva Campos Suarez. DON’T MISS RAE’S PERFORMANCE ON VALENTINE’S DAY, along with performances by Nabeela Vega, Tif Robinette, Sylva Dean and Me, and Claribel Jolie Pichardo


January marks the 5-year anniversary of PERFORMANCY FORUM, a platform for performance art and interdisciplinary practices!

Bad weather (or human fear of it, at least) has foiled some of PPL’s January 2015 operations, but this February we have an intense number of public situations going on! Click HERE to see the schedule, join our mailing list HERE, or “Like” the space’s Facebook Page to get invited there and stay updated on events coming up!

We also have a framing text and report to share HERE
and some revised guidelines for proposals and space usage HERE (and posted below)

GENERAL OPEN CALL for PROJECTS

PPL invites projects that constructively consider situation, context, and consequences of performative socialization and enculturation. The site will be adapted to each project, aiming for explicit realization of social forms.

PROPOSALS can use this ONLINE WORKSHEET, or be emailed in other forms to: panoplylab@gmail.com on a rolling basis.

 **********+++++++**********

OPEN CALL for ARTISTS AND ARTIST-CURATORS
A framing of performance and social practices as “art” implicates us in markets, histories, criticisms and theoretics, individualist and institutional hierarchies, valuation and evaluation schemas, competition-based cultural systemics, expectations for rituality and metaphysical experience, etc. This call is open to “artists,” who navigate lives as “artists” and create “art” within and/or across defined artistic disciplines, as such, problemetizing and considering art-paradigms.

Proposals can be for individual performance processes/performances relating to one of the following forms-of-exhibition (ongoing), OR proposals can frame an entire exhibition with multiple artists, taking on a form that “curatorially” relates involved artistic processes and performance(s) of any length or design.

PERFORMANCY FORUM. A semi-monthly platform since 2009 for auto-criticality of show-forms and performance-as-art practices. Each exhibition involves interdisciplinary performance(s), and some form of public dialogue, usually focusing around an aesthetic, politic, personal, social issue or conceptual area. PERFORMANCY FORUM often involves exchanges between Brooklyn artists and artist collectives and groups from elsewhere in the world. Longer-form exhibitions, as well as conferences and festivals are also organized as part of PERFORMANCY FORUM, by Esther Neff and collaborators. Proposals can be for individual performances/processes and/or conceptual frameworks for an installment of the series. email: esthermneff@gmail.com

SuperCoda (curated by Valerie Kuehne) is accepting submissions for Trauma Salon, an ongoing attempt to define the nature of Trauma as a Performative Phenomenon. Submissions should both consider Trauma as you understand it (have been exposed to, seen/felt) and how and why that understanding might change if Trauma becomes the focus of a performance/experiment. This call is open to all disciplines. The following questions are to be addressed in your submission:
1. How does Art change you? Radically speaking, how does one lose oneself (as audience/performer) in witnessing/engaging in a performance and become someone completely different? Under what conditions do you think this internal shift might transpire.
2. Why is Performance necessary/urgent? How can this necessity be internalized and expressed? Why should it be? How can this necessity be used as a tool for perpetuating/embedding Performance as a social practice (or collective spirituality, modern catharsis, insert at will). In essence, why must we, as performers (as well as human beings) do what we do?
3. Why the the hell do you make art/performance/music? What is important in what you do? Why continue doing so?
Your proposal may suggest a means to inflict Trauma in performance. You may attempt to physically disclose and permanently lose/change yourself. You may find a way to be traumatized by the audience (or simply sign up for this). You may simply perform as a means to uncover the essence of Trauma as performatively expressed. You may make an enormous noise. You may tell us what you are truly afraid of. You may injure yourself. You may terrify everyone and no one. You may grow a second head. –curator Valerie Kuehne

Trauma Salon will take place on the last Thursday of the Month, January – April. Visit thesupercoda! email: valeriekuehne@gmail.com

Post-dance 4X4: To be “post” is to come after, proposing some reflection, perhaps, or some meta-physicality. Works-in-progress are shown as public experiments, situations emerge from dance and movement theory, history, and current dance/movement practices; the construction of a “post-dance community” is embodied, as participatory social choreogaphy. This series also welcomes curators and co-curators, all participants are paid from donations at the door, artists tend to “gather” over time and events emerge from need to operate as dance. The term “post-dance” was coined by Lindsey Drury for BIPAF, at PPL the series has been curated and co-curated by Lorene Bouboushian, Li Cata, Kaia Gilje, Paige Fredlund, and Esther Neff.

Post-drama 4X4: text-based performance forms, dramaturgy and anthropology-located and theatrical forms emerging from “the theater” are removed from theater, challenging theater’s metaphorical and allegorical (historic) relationships with “society.” There is no stage or backstage, all elements of the situation and production values are operated by and as part of the “play.” Durational, participatory, aleatoric, improvisational, environmental, site-specific, and other “post-dramatic” forms are investigated, theater is framed as theoretics. Propose a form of play, a theater-work in-process; forms involving speech, sound, and music especially welcome.

No Wave Performance Task Force: queer and feminist public performance, sculpture, activist, and movement practices, from the concept of a “task force” formed over time through meetings and exhibitions. NWPTF can be initiated by any, and should take task-based form(s). Visit NWPTF website HERE for more information.

OTHER: many many other forms and modes are welcome. PPL has hosted platforms and curatorial projects by many others, including performance art exhibitions, potlucks, video and visual arts exhibitions by independent curators, public meetings and gatherings, research and social arts practices, workshops and lectures, etc. It is impossible for us to totally predict all and any operations for the space: anything “outside” any of these areas is perhaps of even more interest.

megabus03Megabus Social Research Artists Retreat will take place January 24-25, 2015 on the Megabus from Boston to Brooklyn and back again, and in Brooklyn at Panoply Performance Laboratory.

TO APPLY: Send an abstract, diagram, proposal, or other document representing your social research performance as a proposal and to be shared at PPL during the retreat by a deadline ****December 20, 2015**** to panoplylab@gmail.com with the subject line MEGABUS RETREAT

Priority will be given to proposal that “make use” of the Megabus trip. 

Artists receive:
–1 roundtrip megabus ticket between Boston to NYC
–A yoga-mat slumber-party-style place to stay (optional)
–dinner
–A public laboratory session with peer participants available for your social research in any form

Artists must provide:
–An abstract, diagram, or other document representing their current social research as a proposal and to be shared at PPL during the retreat
–A structure for a minimum of 30 minutes of laboratory time (“performance”) between 7pm and midnight on Saturday, January 24

Schedule:

Departing Bus:
Date: January 24, 2015
From: Boston, MA, South Station – Gate 25 (12:00 PM)
To: New York, NY, 7th Ave & 28th St. (4:55 PM)

Arrive at PPL (104 Meserole Street, Brooklyn, NY, 11206)
Seven laboratory sessions, 8pm-midnight

Returning Bus:
Date: January 26, 2015
From: New York, NY, 34th St b/t 11th Ave and 12th Ave (12:30 AM)
To: Boston, MA, South Station – Gate 13 (4:45 AM)

PRACTING_petrichorbannerPetrichor Performance Collective and Panoply Performance Laboratory present an exchange of ideas and performative works in Brooklyn and Boston entitled Practice, Practicing, and the Perpetual Becoming of Performance

Friday, November 7 
Roundtable Discussion: 6pm
Performances: 7pm-11pm

Saturday, November 8
Performances: 7pm-11pm

@
PPL Space
104 Meserole Street
Brooklyn, NY, 11206

(L to Montrose, G to Broadway, M to Lorimer)
FREE (suggested donation $5-15 for the artists’ travel)

Participating Artists from Petrichor:
Danielle Abrams, Leah Rafaela Ceriello, Dell M. Hamilton, Tiara Jenkins, Ryan McMahon, Helina Metaferia, Cris Schayer, Bryana Siobhan, Kledia Spiro, Nathaniel Wyrick

Byana_petrichor(Photo above: Bryana Siobhán, azul negro, at Piano Craft Guild)

The following weekend, PPL will complete the exchange in Boston at the School for the Museum of Fine Arts:

Friday, November 15
Roundtable Discussion: 6pm
Performances: 7pm-11pm

Saturday, November 16
Performances: 7-11pm
@
School of the Museum of Fine Arts, Boston
230 The Fenway
Boston, Massachusetts 02115

Participating Artists Include: Chloe Bass, Ayana Evans, Anya Liftig, Kikuko Tanaka, Zhenesse Heineman, Future Death Toll (Edward Sharp and David Griess), Esther Neff and Brian McCorkle (PPL), Glasshouse Project (Lital Dotan and Eyal Perry), Ivy Castellanos, and Wild Torus (Amy Mathis and Mike Voztok).

s2590047(Photo above: Kikuko Tanaka, Poultry Paradise and its Discontents (2013), PPL Space, Photo by Hiroshi Shafer)


ABOUT THE EXCHANGE:

How does an artist design and practice a practice? More importantly, how does an artist practice within constantly fluctuating ways of learning? This performance exchange is meant to address questions of process and pedagogy and to interrogate collectivity and community as a part of the practices of artists operating in Boston, New York City, and beyond.

Performance art, termed as such, has experienced a major shift between 2006 and 2014 “inside” and “outside” art worlds. The “professional” artists from the NYC area and student artists alike will ask critical questions of themselves and each other to determine how the MFA program, the collective, the artspace, the panel discussion, and other forms of social learning, are integrated within performance art practices today. The artists will question pedagogy, community, collectivity, and how our organizational and pedagogical practices operate in conflux with our performance work. Group discussions in each location with be focused around making a practice and will be allowed to digress in any of these directions.  This exchange is curated/organized by Helina Metaferia and Esther Neff, respective members of Petrichor and Panoply.


 danielleabrams(Photo above: Danielle Abrams, video still: Quadroon)

About Petrichor Performance Collective:
Petrichor is a performing arts collective operating and performing in Boston, MA, founded by MFA students, alumni, and friends of School of Museum of Fine Arts, Boston. Facebook: PetrichorPerformanceCollective

About Panoply Performance Laboratory (PPL) is a duo of performance artists, a collective involving anyone who participates in any PPL operations, and an investigative project space in Brooklyn, NY that hosts performance and social projects. PPL has initiated Brooklyn International Performance Art Festival, conferences-as-mass performances, and organized PERFORMANCY FORUM (a critical platform for performance-as-theory) since 2009. www.panoplylab.org

kerwinppl(PPL Space, a project of the Panoply Performance Laboratory (Esther Neff and Brian McCorkle). Photo by Kerwin Williamson)


BIOS of BOSTON-BASED ARTISTS, MEMBERS OF PETRICHOR

Helina Metaferia is an interdisciplinary visual artist working in two dimensional, three dimensional, and time-based mediums. Born in Washington, DC to Ethiopian parents, Helina’s work is rooted in diaspora, migration and gender studies through an exploration of the body. Her work has been exhibited at Galeria Labirynt (Lublin, Poland), Emerson College Gallery (Boston, MA), International Visions Gallery (Washington, DC), Casa Frela Gallery (New York, NY), Williams College Gallery (Williamstown, MA), and more. She recently performed at the Guggenheim Museum with Afro-Cuban artist Maria Magdalena Campos-Pons in honor of the Carrie Mae Weems retrospective exhibition. www.helinametaferia.com

Leah Rafaela Ceriello: b. 1989. New Hampshire USA. What has come before you? what will remain after you’re gone http://www.leahrafaela.com/

Tiara Jenkins is a Boston based performance artist. She was raised in Pittsburg, Missouri on a 40 acre farm. Since moving to Boston three years ago, she has been considering processes of acculturation and questioning how an individual’s life dreams and goals are formed, crushed, and reformed.

Kledia Spiro is an interdisciplinary artist experimenting with intense physical actions and understanding the internal dialogue and struggle that occur before, during, and after the action.  Kledia was born in Albania and is part of an Olympic Weightlifting team. She uses weightlifting as a symbol of empowerment and pain. Weightlifting becomes a vehicle for discussing women’s role in society, immigration and times of war.

Nathaniel Wyrick is a multidisciplinary artist born in East Tennessee and currently living and working in Boston. Working through performance, printmaking, photography, and installation he explores the fragility and imperfection of memory as it relates to personal history, identity, masculinity, and sexuality. www.nathanielwyrick.com

Cris Schayer, New Orleans artist currently based in Boston. Examining the perception of memory, language, and identities, she works with the ephemerality of time based durational performances yielding residual objects. The residue becomes a compulsive attempt to solidify the intangible. www.crisschayer.com

Dell M. Hamilton is an artist, writer, activist and curator based in Boston. Born in Spanish Harlem and spending her formative years in the Bronx borough of New York, she was raised in a bilingual as well as a multi-racial Honduran family. Her work is grounded in the interdisciplinary contexts of the African Diaspora and she has most recently performed with Afro-Cuban artist, Maria Magdalena Campos-Pons as part of MacArthur Genius Award winner Carrie Mae Weems’s retrospective show at the Solomon R. Guggenheim Museum in New York. Dell’s work has been shown to a wide variety of audiences at the Museum of Fine Arts (Boston), Paragraph Gallery (St. Louis), Spoke Gallery/Medicine Wheel Productions (Boston), NK Gallery (Boston), Mobius (Boston), OKW Gallery (Boston), the Fort Port Artist Building (Boston), Atlantic Works (Boston), the Joan Resnikoff Gallery/Roxbury Community College (Boston), the Massachusetts State House (Boston) and at Perfolink: Maestros y Discipulos in Concepción, Chile. www.dellmhamilton.com

Emerging artist Bryana Siobhan is currently a Masters Candidate at the School of the Museum of Fine art of Boston, and an Alumni of the Corcoran College of Art + Design with her Bachelors in Fine Art.  She has been living and working in Boston, MA for the past years as a performance artist, founder ofrevolutionaryperformance.tumblr.com (a performance art archive), as a founding member of Petrichor Performance Collective and member of Que Lastima! Working in the topic of US-centric social politics regarding race, gender, and mental health, and spirituality, Siobhan draws cultural cues and signifiers from the Black American, Afro-Cuban and Indigenous American (NDN) cultures. bryanasiobhan.comrevolutionaryperformance.tumblr.com

Danielle Abrams has performed for over 20 years as personae that emerge from her interracial family, and from a lexicon of figures in art history and popular culture. Her performances upend the limits of stereotype and representation.  As each of Abrams’ characters transfigure into new ones, prejudicial assumptions are traded in for complex and candid dialogues. Danielle Abrams has performed and exhibited work at galleries, festivals, and museums in New York including the Queens Museum, Bronx Museum of Art, The Jewish Museum, Roger Smith Hotel, WOW Performance Café, The Kitchen, Rush Arts Gallery, ABC No Rio, and Dixon Place.  She has also exhibited work nationally and internationally at Detroit Institute of the Arts, the Queer Arts Festival, Labotanica at Project Row Houses, Annie Sprinkle’s and Beth Stephens’ Green Wedding, Art Gallery of Windsor, and The Geborgen Kamers Gallery in the Netherlands. She teaches Performance at The School of Museum of Fine Arts in Boston. www.danielleabrams.com

Ryan C. McMahon: “I was injured and hospitalized during the Boston Marathon Explosions with a major back injury and two broken wrists. “You’re Ok” explores my recovery and the healing process. I have been researching how other artists like Harun Farocki, Hito Steyerl, Stanya Kahn, Jon Rafman, Hannah Wilke and Liza Johnson uncover the effects of war, trauma and violent events. I’m also very interested in how groups, communities and cities grieve and heal collectively. Using texts from Trauma Studies I am exploring and documenting the impacts of psychological and physical trauma on an individual (myself), my family, my immediate community, and on the city as a whole while also looking at the contrasting methods that the mass media has used to process the event. The body’s healing time vs. media time.” http://www.ryancmcphoto.com/

BIOS of NEW YORK CITY-BASED ARTISTS, CURATED BY PPL

Chloë Bass Rehearsal for Regular Social Behavior” Chloë Bass is a conceptual artist working in performance, situation, publication, and installation. Chloë has received commissions from LUMEN, the Culture Project’s Women Center Stage Festival, the Bushwick Starr’s Bushwhack Festival, and 3rd Ward’s Moviehouse. She has received residencies from the Bemis Center (Omaha, Nebraska), POGON (Zagreb, Croatia), D21 Kunstraum/5533 art space (Leipzig, Germany and Istanbul, Turkey), and Eyebeam (New York). Recent work has been seen at the Neuberger Museum, Momenta Art, Künstlerhaus Stuttgart, Flux Factory, Kunstkammer AZB (Zürich), Akademie Schloss Solitude, Exit Art, Contemporary Art Institute of Detroit, ITINERANT Performance Festival, Glasshouse, Panoply Performance Laboratory, and Agape Enterprise, among others. Selected profiles of her work have appeared in BOMB, Entorno, ArtInfo, Art Observed, and Hyperallergic. She is a the recipient of the 2014 Create Change Residency from the Laundromat Project, the 2013 Fellowship for Utopian Practice from Culture Push and is a 2011 & 2012 Rema Hort Mann Foundation Individual Artist Grant Nominee. From 2007 – 2011, Chloë served as the co-lead organizer for Arts in Bushwick, which produces Bushwick Open Studios, BETA Spaces, and Armory Arts Week performance festival SITE Fest, which she founded. She has guest lectured at Parsons School of Design, Sotheby’s Institute, the Polytechnic University of Puerto Rico, and Brooklyn College CUNY. She holds a BA in Theater Studies from Yale University, and an MFA in Performance and Interactive Media Arts (PIMA) from Brooklyn College. chloebass.com

Ayana M. Evans currently resides in New York, home base for her work as a performance artist and accessories designer. She frequently visits her hometown of Chicago, a city whose “all-American” and sometimes controversial reputation has been a major influence on her art making practices, either as ideals she challenges or as nostalgia for histories she cannot re-create.  Her own family’s roots in the South and her identity as an African American woman add another significant layer to her performance works, which are often presented as critical or banal queries that involve her body. Evans received her MFA in painting from Tyler School of Art at Temple University and her BA in Visual Arts from Brown University.  She has also attended the Skowhegan School of Painting and Sculpture as well as the Vermont Studio Center.  Recent exhibits include: “Time Distortion and the Body” at Panoply Performance Laboratory, Brooklyn, “A Box in the World,” sponsored by Local Projects, Queens, “All that Glitters,” at The Gateway Project, Newark, “Operation Catsuit” video, screened at Panoply Performance Laboratory, Brooklyn, and “Everything Is Up For Grabs,” performance art piece choreographed by Whitney Hunter and shown at Judson Church, New York.  Evans’ accessories line, Yana handbags, was launched in 2007 and has been featured in EssenceNylonMarie Claire, TimeOut NY and the L.A. Timesayanaevans.com

Anya Liftig’s work has been featured at TATE Modern, MOMA, The New Museum, Trouw Amsterdam (collab with Stedelijk Museum, CPR, Highways Performance Space, Lapsody4 Finland, Fado Toronto, 7a11d International Performance Festival, Performance Art Institute-San Francisco, Atlanta Contemporary Art Center, The Kitchen at the Independent Art Fair, Performer Stammtisch Berlin, OVADA, Joyce Soho and many other venues around the globe. In “The Anxiety of Influence” she dressed exactly like Marina Abramovic and sat across from her all day during “The Artist is Present” exhibition. Her work has been published and written about in The New York Times MagazineBOMBThe Wall Street JournalVogue ItaliaNext MagazineNow and ThenStay ThirstyNew York MagazineGothamistJezebelHyperallergicBad at SportsThe Other Journal, and many others. She is a graduate of Yale University and Georgia State University and has received grant and residency support from The MacDowell Colony, Atlantic Center for the Arts, The New Museum, Mertz Gilmore Foundation, Flux Projects, University of Antioquia and Casa Tres Patios-Medellin, Colombia. She is the recipient of a 2014-2015 Franklin Furnace Award for a series of interventions in museums throughout New York mimicking the gestures of animals depicted in Old Master paintings and sculptures. In November 2014 she will release her first self-published artists’ book, entitled Rejection, Just Over 15 years of Ambition, which was featured in the D.A.P. publication, On Art and Life, by Stuart Horodner.  Purchasers receive a one of a kind portfolio box with a copy of every rejection letter Liftig has received to date.  Every year, purchasers receive a packet with the rejection letters of that calendar year to update their collection.  Their purchases also fund the production of a duplicate edition of Rejection which is sent to an institution of their selection from an index of all the organizations that have ever rejected the artist.  Please contact the artist directly for more information or to purchase a copy.  Upcoming performances include performing in: Screening Room, or, The Return of Andrea Kleine (as revealed through a re-enactment of a 1977 television program about a ‘long and baffling’ film by Yvonne Rainer.) at The Chocolate Factory in Long Island City, Queens,  A performance/dance collaboration with Tess Dworman at Center for Performance Research, Brooklyn, NY, and AUNTS on Camera at The New Museum, NY.  anyaliftig.com

Lital Dotan & Eyal Perry (aka: Glasshouse) have been a collaborative team since 2001. Their work is best described as interdisciplinary performative art, integrating elements of video, photography and installation into performance; challenging ideas pertaining to the role of art in society, the role of the audience in art and the very nature of art itself. In their performative pieces they often involve the public, seriously examining public morality and the deeper, more hidden motivations behind social interactions. In 2010 the Glasshouse project was hosted by seminal performance artist Marina Abramovic at her institute in San Francisco. In addition to their work as Glasshouse, Lital & Eyal’s works have been exhibited internationally in museums and galleries (the Israel Museum, the San Francisco Jewish Modern and the National Museum in Cracow among others) and can be found in public and private collections worldwide. glasshouseproject.org

Future Death Toll’s David and Edward ask a lot of questions, like: how can we make performances with people not in the same room (would that also work for several performers in several different places)? is silence important? how far does our voice reach? how can this engage the public? what’s the most minimal amount of material required to conceptually encapsulate the relevant point? Answers become fodder for group collaboration and idea exchange through tools like open forum discussion, a/v recordings, and live video chat. Black trash bags, heavy breathing, sweat, mask, razors, and clothes are objects of ephemera & appropriated context; which may or may not be (or become) transcendental; which may or may not be well crafted; which may or may not really exist. What is seen? What is not seen? How is it that we can “see” what’s not there? And when you gaze long into an abyss the abyss also gazes into you (to borrow from Nietzsche). futuredeathtoll.com

Kikuko Tanaka: Hybrid Research, Poetic Amalgamation and Communication ” Born and raised in JapanKikuko Tanaka is a frantic thinker and practitioner currently based in New York. Her ongoing series of tragicomic epic “A Tragic Bambi” is an open-ended investigation of psychical histories that inform and condition the present. 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, Vox Populi, Arario Gallery and Panoply Performance Laboratory among others. Her work has been favorably reviewed in Art in America, Art Info, and Hyperallergic. She was a nominatee for a Rema Hort Mann Foundation Visual Art Grant in 2010. She has an interdisciplinary background in her education. She holds a BS in Landscape Design from Chiba University, and has briefly studied fine art at School of Visual Arts, and has engaged in interdisciplinary studies at Hunter College and the CUNY Graduate Center, New York. She was a co-founder/ co-director of one-year artists’ project, Agape Enterprise, Brooklyn, New York, and is currently Administrative Director at Momenta Art, Brooklyn, New York. kikoworld.net

Ivy Castellanos is a performance artist and sculptor. Castellanos is the founder of IV Soldiers. ivycastellanos.com

Zhenesse Heinemann: “Ms Connections. Zhenesse Heinemann produces public programming, and curates and creates art in New York City and beyond.  She was born in Germany, grew up in Chicago, lived on the beach in Los Angeles, and has made a home in New York since 2004. zhenesse.com

WILD TORUS (WT) is the eccentric brainchild of male and female counterparts, Vlady VØz Tokk and Mág Ne Tá Z’air, in addition to their collaborating spawn. WT creates chaotic, cult happenings within multi-sensory installations. Working out of Capitol Beltway inbreeding in a post-Cold War malaise between clashing Russian bloodlines; mental contortion in the American South; abandoned, Castilian wormholes; gradual suburban numbing; and urban hyper-stimuli, WT aims to create a shared, collective experience with audiences. WT utilizes a combination of digital and physical means, like projection art and kinetic sculpture, to communicate major events that occur in the universe. Through an ephemeral process, WT’s constructed interventions alter its participants’ consciousness, as well as their corporeal position in society. The rituals activate a liminal space-time to personally deconstruct events of our contemporary reality, those which have been distorted through media sources and the Internet. Ultimately, the coming together of WT’s clashing identities, invented tools, and cryptic symbols through ritualistic experience erupts into an extreme, dystopian spectacle. wildtorus.tumblr.com

PPL (Esther Neff and Brian McCorkle): “Embarrassed of the (W)hole: Exchange with Petrichor” Panoply Performance Laboratory (PPL) operates across disciplines and spheres, constructing and participating in live situations. Projects such as operas, conferences, exhibitions, a miniature museum, tours, a performance space, an international festival, workshops, and other forms have been supported through Lower Manhattan Cultural Council, Brooklyn Arts Council, LaGuardia Community College, University Settlement, the cell, chashama, liveart.dk, Performer Stammtisch, University of Kentucky, and shown at Defibrillator Performance Art Gallery and High Concept Laboratories (Chicago), Contemporary Art Institute of Detroit, The White Page (Minneapolis), ISSUE: Project Room, Grace Exhibition Space,  Flux Factory, English Kills, Momenta Art (NYC), Villa Victoria (Boston), La Casa del Popolo (Montreal), Gruentaler9 (Berlin) and many other spaces, in addition to public sites including a bowling alley, public libraries, bars, gas stations, etc. Outside of PPL, Brian McCorkle is a founder of composer ensemble Varispeed and has performed in PERFORMA 11 and 13, at The Guggenheim Museum, The Whitney Museum, The Kitchen, and all over the world as a performer and composer. Esther Neff (almost always operating as “PPL”) practices contextual and conceptual work involving modes of institutional critique, curation-as-art, and social performance. She also writes about performance theory and has spoken on/at GritTV, Abrons Arts Center, CUNY, The New School, and published texts here and there on the outmost fringes of academia. Brian and Esther have been collaborators since 2004. www.panoplylab.org

Finally, Any Size Mirror is a Dictator, has completed processes and performances at Momenta Art. Thank you and goodnight from Jessica Bathurst, Lorene Bouboushian, Lindsey Drury, Paige Fredlund, Matthew Gantt, Kaia Gilje, Rene Kladzyk, Thea Little, Brian McCorkle, Sarah McSherry, Butch Merigoni, Esther Neff, Ellen O’Meara, and Matthew Stephen Smith!

THANK YOU to Kikuko Tanaka and Eric Heist at Momenta for providing us a home for a seven-week exhibition!

THANK YOU to Robert Zott and David Ian Griess, who documented the work so thoroughly in still images and video, and to Hrag Vartanian for live-tweeting, and everyone else who “crowd-documented” the sprawling work. See posts with images below and on Robert Zott’s Facebook, and find Griess’ videos HERE.

THANK YOU to the guest artists: David Grollman, Flyn van Hemmen, Cory Bracken, Brian Questa, Jason Anastasoff, Sean Ali, Valerie Kuehne, David Ian Griess, Ryan Krause, Colin Self, Jen Baker, Dave Ruder, Erin Rogers, and the many others who threw themselves into the fray.

THANK YOU to those who wrote responses and conducted interviews:
HERE is an article on Hyperallergic by Jay Barnacle
HERE is an essay on Lepidopterism by Baxton Alexander
HERE are thoughts by Dave Ruder on you coo coo you coo coo too
HERE is an interview with choreographer Lindsey Drury in the Huffington Post
HERE is a review in Posture by Li Cata

And, of course, thank you again to those who donated to the Hatchfund campaign to make this project possible. If you are still waiting for your book, it should be in the mail!

NOW TO GET SOME SLEEP…

 

Photos below by Esther Neff

Photos by Robert Zott

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