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!
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 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: email@example.com
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?
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.
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.