This blog is created by the Panoply Performance Laboratory (PPL).
contact us at: firstname.lastname@example.org
Panoply Performance Laboratory (PPL) is a thinktank, organizational entity, lab site (at 104 Meserole St. in Brooklyn) and a flexible ensemble making operas-of-operations, iterative and relational projects, installations, books, conferences, performance art, dance, music, and theater. Founded in 2006 by Esther Neff, our work operates through and between cultural activism and devised performance.
Performance art work, operas, theoretical practices, and organizational projects have interfaced with and been supported by various institutions and organizations such as Lower Manhattan Cultural Council (LMCC Swing Space), Brooklyn Arts Council (various grants), LaGuardia Performing Arts Center (LPAC LAB residency), University Settlement (residency), chashama (residency at 42nd Street, various spaces and situations), and most recently via a residency at Salisbury University and John Cage Memorial Park.
Often taking ongoing, process-based forms, parts and iterations of projects have been performed as part of festivals such as Rapid Pulse (Chicago), INVERSE (Fayetteville, AK), Pittsburgh Performance Art Festival, Month of Performance Art Berlin, Hitparaden (Copenhagen, DK) and performed at Dixon Place, ISSUE Project Room, The New Museum, JACK, ABC No Rio, Flux Factory, Glasshouse, Danspace, Moynihan Station, Judson Church, Gathering of the Tribes, Bronx Museum, Grace Exhibition Space, IV Soldiers, English Kills (to name a few in NYC), as well as [performance s p a c e] in London, Gruentaler9 in Berlin, Michigan Institute for Contemporary Art (Lansing, MI), Vox Populi (Philadelphia), No Nation (Chicago), Public Space 1 (Omaha), Spread Art (Detroit), University of Kentucky, Ohio State University, MassArt, School of the Museum of Fine Arts, on Spectacle Island in Boston Harbor, and across and through many “non art” sites (the street, libraries, banks, a baseball diamond, a bowling alley, gas stations, etc).
“Solo shows” and larger-scale socially-devised opera “productions” such as Embarrassed of the Whole (2015-2017), Any Size Mirror is a Dictator (2013-2015 with Lindsey Drury), NATURE FETISH (2012), The Transformational Grammar of the Institutional Glorybowl Trilogy (2008, 2010, 2011-2014), You’re A Big Boy Now OR Rauschenberg Ist Toedlich (2013-2014), The Silviculture Museum (2009) On the Cranial Nerves of Barbarians (2008) have been performed at Grace Exhibition Space, Momenta Art, the cell, and the Brick Theater as well as through processes, workshops, and other operations on tour (see Relational Marches Marooning and (MI)Rage ) in many different contexts and situations.