Community and Goings-On

DEAR COMMUNITY: we are most grateful to even be able to begin a note like this, addressing a body of individuals whose work and ideas are our daily bread.

THANK YOU to our collaborators and colleagues for having conversations with us, hosting us in your studios, spaces, and galleries, for planning and scheming with us,  for driving, for bringing coffee, for always sharing the beer, for helping haul things, for breaking various walls (literally and figuratively), for organizing talks, for attending our shows. THANK YOU for making your work, it’s impossible to quantify the influence and encouragement your practices engender THANK YOU for pursuing your obsessions to the point of madness, for working long hours, for keeping on keeping on, for spending your own money on equipment, props, travel, etc, for re-arranging your schedule, for sharing your skills and resources, for working that awful day job so you can write/compose/paint/build/practice/plan at night, for following through on your ideas, for writing down what you think, for sharing what you feel, thank you for performing even when you’re sick or exhausted or when there are only a few people in attendance, thank you for the long long long long rehearsals and dedication to your craft, thank you for not becoming a banker, a car wash attendant, a graphic designer, or a software developer. THANK YOU for for listening/watching/participating, and for giving us an opportunity to do the same: we are your rapt audience. THANK YOU. Thank You.

Finally, after that little bit of sentiment on a plate, fresh as shit out of the oven as if we are contestants on top chef canada, we will now update the pudding out of you:

PPL is an umbrella for when the snow turns to sleet. As such, Valerie Kuehne, Esther Neff, and Brian McCorkle have been performing together across the midwest, enjoying the improvisational frameworks provided by situations at a public library, warehouse, bar, house, gallery, bowling alley, etc. Thanks to Anya Liftig and Ivy Castellanos for joining us in Chicago for MDW and at the glorious Defibrillator Performance Art Gallery. Now we’re back in Brooklyn at PPL on Meserole Street. Valerie’s about to release a new album and hit the road with Joey Molinaro (stay tuned) while Brian and Esther prepare for various upcoming NYC performances.

This Sunday, November 25, join us at Muchmore’s for Performance Heart, curated by Matthew Silver: an eclectic line-up of “handbags” including Mr. Silver, Sylva Dean and Me, Lorene Bouboushian, Geraldo Mercado, Elinor Thompson, Katie Donut and Jacquelyn Gallo.

In December Brian and Esther join forces again with Valerie Kuehne to perform at the brand-new Fitness Center for Arts and Tactics as part of their “marathon performances” series. The list of dates and artists comprising this series at Fitness is:

Dec. 10th – Panoply Performance Laboratory (PPL)
Dec. 11th – BabySkinGlove
Dec. 12th – Elinor Thompson
Dec. 13th – Ivy Castellanos
Dec. 14th – Reece Cox
Dec. 15th – Hilary Sand
Dec. 16th – Sindy Butz
Dec. 17th – Whitney Hunter
Dec. 18th – Alaina Stamatis
Dec. 19th – Adjua Greaves
Dec. 20th – Matthew Silver
Dec. 21st – Amber Lee
Dec. 22nd – Sasha Desree
Dec. 23rd – Frank Ludovico

Now that’s curation. Best bet for more information about these artists and projects is to google them or find them on some social network, or just show up sometime between 1pm and 1am on any of these days to see what’s going on, just so you have something to tell your grandkids about. As you can see above, we perform Monday the 10th. We will be doing a 12 hour aleatoric opera called You’re a Big Boy Now or Rauschenberg is Tödlich. Open to the public from 1pm-1am. Click here to visit the Facebook event and see the menu, click on the title above to read more about the project.

Fitness Center for Arts and Tactics is at 1196 Myrtle Ave, Brooklyn, New York 11221, right across from Little Skips and Microscope Gallery.


The first ever Brooklyn International Performance Art Festival Scheduled (BIPAF) has been scheduled for July 4-28, 2012. 

Born out of attempts at small-group collective curation, including the Compendium’s 2012 events at Vaudeville Park and the Center for Performance Research, the Artist Almanac’s Sunday community meetings, + experience with many forms and functions for festivals in New York City (SITE, Maximum Perception, ITINERANT, LUMEN, PERFORMA, conference-exhibitions constructed by Creative Capital, Flux Factory, Exit Art, PPL, and many other organizations and collectives)  participation in MPA-B (Month of Performance Art Berlin) in May, BIPAF will be a collective performance in and of itself, researching de-hierarchized curation and organizational structures through its disciplined practice of becoming. It will also seek new ways of exhibiting, presenting, and valuing Performance Art.

BIPAF is a response to an increasing need for exposure for Performance Artists in the big apple and a “movement” emerging primarily outside of Manhattan; many artists with full-time practices in Performance Art find their actual work and concerns quite out-of-sync with community and capital-based structures alike, let alone industrialized modes of art market production and consumption.

BIPAF will attempt to provide a platform for Performance Art that uses body-based, post-product, conceptual, action-based, fluxist, feminist, and live arts frameworks and genealogies to construct  forms, actions, tasks, social situations, processes, and practices. An open debate about definitions of “Performance Art” can be found here. Artists are asked to join the wiki here.

Please see the Letter of Instigation below, and visit the wiki to learn more.


Dear Individuals interested in BIPAF 2013,

This festival will be a collaborative performance.

Although there is a small core team of individuals lighting the big pink match in this room full of gas, this small team is serving primarily as liaisons and facilitators of information sharing. Roles of “curator” “artist” “gallery director” “festival administrator” will be shifted and often obliterated

in favor of practical interpersonal organization and skill-based leadership structures. In order to participate in the festival, please collaborate performatively, starting now. There are no fees to apply, no application or curatorial proposal procedures (though there may be various calls for proposals later on), and no lump wad of institutional funding. To participate, use the wiki at On Facebook, there is a page, You can also use the e-mail address, etc to express interest, share ideas, make general proposals and offer resources, also to set up one-on-one meetings with me (the person writing this letter) if you prefer private contact to public forum. Perhaps we are all just getting used to these digitized forms of inter-netted communication, but we have already seen how these performative, online/digital/crowd-sourced forms of organization can operate to enormous political and social effect. Outside of our online networks, a public meeting to specifically address forms of communication and organization for BIPAF is scheduled for SUNDAY, NOVEMBER 4, 2012 at 3pm at 104 Meserole Street, Brooklyn, 11206. This meeting will be on livestream for International participation (chat feature will be on) at:

BIPAF currently has 6 confirmed spaces (confirmed because they are directed by the instigating individuals) and a network of organizing artists, around 150, from all over the world. This core can comprise a tiny festival if necessary, voila. However, the size and scope of the festival will be up to all of us so that it can live up to its presumptuous title.

Unfortunately, at this time, many social situations experienced by artists, curators, arts administrators, and others involved in the “arts sphere” (including lack of economic safety, absence of emotional and psychological support, constant co-competitively, etc) often produce in us a kind of demented desperation for recognition and opportunity. The emails already received, asking for opportunities to perform, reveal the top-down structures that these types of grassroots festivals usually have. This festival is NOT A BUSINESS-OF-ART “OPPORTUNITY,” it is a collaborative performance; the performance is the organization and realization of the festival. Thus, we suggest the first (and only?) rule of the Brooklyn International Performance Art Festival is actually a plea to ALL PARTICIPANTS MUST PLEASE PARTICIPATE.

First step is the wiki. Visit it when you have a moment and make a page titled your own name/space/collective/etc; include bio, external links, embed video etc. Feel free to link to other individuals who are part of your current community, and make discussion topics. Please be sure to include what you would like to do as part of this festival/what you need this festival to be. English is the primary language of this festival, but if you need to write in another language, we can use Google Translate or those who are multilingual can offer translations.

Artists, please gather your artist friends whose work you feel relates with yours and propose an exhibition; ask for help if you have never written a curatorial proposal or self-organized before. Ask for help with writing a permit for use of a public space if you have never done that before. Offer your assistance if you have experience with these types of things or anything you feel is helpful. Perhaps you have a couch where an International artist can stay? Or access to zipcar for transport of materials/artists? Do you have gallery representation, work for an arts nonprofit, or have other affiliations with an institution or organization to involve? Start an indiegogo campaign to raise fees for artists and curators if you or your parents have wealthy friends…

Director-curators, space directors, programmers, and cultural organizers, let’s make lists of housing, funding, catalog publication, and other resources, and as we curate let’s include the artists who are participating in the community at large and not treat artists like products for others to obtain and then sell…we will meet many new artists and curate those who have engaged with this project at large.

Let’s try to use this festival context to propose and perform ways of relating within Brooklyn and International communities at large.

This letter is walking a fine line between the attempt to de-hierarchize the festival ‘format’ by involving and implicating all members of “performance art communities” and the attempt to communicate the somewhat firm dictation of an ideological perspective that is currently fueling the festival, including the ethical framework that it hopefully initiates through social, public performance across “levels” and aspects of the festival.

No matter what we end up with, BIPAF will be an explosion of rigorous, exceptional, rapturous Performance Art (Visual Arts Performance? Live Art? Action Art?) in Brooklyn over a time-period of one month, July 2013. During this month, our practices and disciplines will be treated with respect, framed as “valuable” parts of society, be that value demonstrated scientifically, politically, economically, socially, spiritually, and/or otherwise. We must perform our own theories regarding performance art’s public operations.

Thank you for reading this very long letter. We have thus far described BIPAF as “slow,” this often means long letters that take a while to read, so thank you for your patience and commitment already.

Other relevant reading materials include this article, The Lessons of 2011: Three Theses on Organisation by Rodrigo Nunes

This debate in Hyperallergic about the commodification of performance art, Can Performance Art Be Collected…and Still Maintain its Original Message?


Visual Art Performance vs. Contemporary Performance by Andy Horwitz (Culturbot) in which certain Brooklyn conceptions are made plain…

AUGUST 3, 8:00pm-AUGUST 4, 8:00am

Empty Words Written by John Cage, Arranged and performed by Varispeed

8 PM – 10:30 PM: Part I: Roulette, 509 Atlantic Avenue

11 PM – 4:30 AM: Parts II & III: Exapno, 33 Flatbush Avenue, 5th floor

5 AM – 7:30 AM: Parts IV: Procession from Borough Hall over the Brooklyn Bridge

All parts of the performance are free and open to the public.

This overnight realization on Cage’s centennial is a meditation on the voice’s power to transform language into music. Varispeed’s new arrangement will lead audiences on a 12-hour journey of sound, from an ensemble of electronically manipulated and mutated song in the concert hall of Roulette to the noise of naked voices on the Brooklyn Bridge at dawn.

Written in the early 70s, Empty Words stands as an epic culmination of Cage’s exploration of the “demilitarization” of syntax and the voice’s power to evacuate meaning and create music. Using Thoreau’s journals as his source text, Cage employed chance procedures to remove all syntax from the original, creating four separate movements through which the level of textual abstraction grows.

Part One (utilizing phrases, words, syllables, and letters) begins in the concert space of Roulette, employing multiple performers and theatrics to employ the musical extremes of language. The performance then moves to the new music community space Exapno, where Varispeed transform Part Two’s words, syllables, and letters into new spatial arrangements. Peppered with food (and perhaps a nap), Part Three scatters syllables and letters around the building in a performance that is both a participatory scavenger hunt and a solo lecture. In conclusion, listeners will become performers on a communal sound walk through Downtown Brooklyn across the Brooklyn Bridge at sunrise, vocalizing the letters of Part Four in equal partnership with the surrounding urban “silence.”

Varispeed’s premiere performance of Robert Ashley’s Perfect Lives Manhattan was listed on Time Out New York’s Best of 2011 list and received praise in the New York Times and Los Angeles Times. Varispeed has worked to discover new inroads into contemporary vocal music and opera in creating site-specific, sometimes-participatory, oftentimes-durational, forevermore-experimental events. As individuals, they are all multi-faceted performers, composers, songwriters, and thinkers who collaborate in ensembles such as thingNY, Panoply Performance Laboratory, and Cough Button. (text from the Facebook event)

Don’t miss this ephemeral epic. Varispeed is (from left to right in image above) Gelsey Bell, Paul Pinto, Aliza Simons, Dave Ruder, Brian McCorkle, and the ghost of John Cage…

IV Soldiers
184 Noll St

iCan website

Conceived and lead by Ivy Castellanos, collectively curated and organized by the involved artists: Chloe BassIvy CastellanosQuinn DukesMiao JiaxinAnya LiftigGeraldo MercadoPanoply Performance Laboratory (Brian McCorkle and Esther Neff), Itzy Ramirez,Hiroshi Shafer, and Matthew Silver.

Enacted in 1982, the New York State Returnable Container Law hoped to encourage recycling by giving back a rebate of 5c per aluminum beer or soda can. Performance artists have long been adept at recycling trash to make work, relying on the “readymades,” furniture, lumber, clothing, and even food that others discard. Similarly, many political theorists relegate art as a whole into a “sphere of excess,” lumping art-making in with leisure-time activities such as getting drunk, shopping for pleasure, and going to nightclubs. Can art be a part of daily life? Can it be a profession? Is it worth anything? Are artists useless members of society? The iCan exhibition roots through the garbage for practical responses to these questions.

The act of collecting cans becomes a collaborative social performance and an attempt at survival as 11 artists, lead by curator-project organizer Ivy Castellanos, use the returnable container laws to raise artist fees, gallery space and studio rental, transportation costs, and more. As cans accumulate in the gallery space IV Soldiers, filling up the front window, artists will make performances in and with the cans each Thursday night in September.

For the months of July, August and September, the artists will also collect cans on the street and through several performance spaces, in conjunction with public project participants. The rebate from the cans will fund the exhibition as it is going on, creating a sustainable cycle of performance, product, and purpose. The exhibition is part of an overarching self-sustainability initiative, during which the artists will work together to make their practices economically self-sustainable.

Anyone can bring 12oz. aluminum cans to IV Soldiers Gallery Tuesday, Wednesday, and Thursday 7-9pm through August or by appointment ( Performances will take place in and using the cans on the Thursday nights in September at IV Soldiers. Cans will also be collected at Panoply Performance Laboratory (104 Meserole St. Brooklyn) throughout August and at Grace Exhibition Space in July.

iCan offers an aluminum structure for self-sustainability. 

Aug. 1 – can collecting at IV Soldiers Gallery and Panoply Performance Laboratory,

Aug.  30–Opening ofiCan exhibition at IV Soldiers Gallery, Exhibition Performances 8pm-11pm

Thursdays, Sept.  6, 13, 20– Exhibition Performances, 8pm-11pm

Sept.  27 – Closing at IV Soldiers and can bagging, 8pm-9pm


Aug 30:
Opening reception and performances at IV Soldiers – Matthew Silver, Panoply Performance Laboratory (Brian McCorkle and Esther Neff), Geraldo Mercado, and Ivy Castellanos

Sept 6:
Performances at IV Soldiers – Hiroshi Shafer, Itzy Ramirez, and Anya Liftig

Sept 13:
A traveling performance between 3 spaces. The performance will begin at 8pm at IV Soldiers with Panoply Lab, Miao Jiaxin and Matthew Silver.
Sept 20:Durational Performances at IV Soldiers – Quinn Dukes, and Chloe Bass.

Panoply Performance Laboratory (PPL) and Grace Exhibition Space Present:


A Public Opera and Performance Exhibition

Thursday July 12, Friday July 13, Thursday July 19, and Friday July 20

8pm: NATURE FETISH: A Public Opera
9:30-11pm: NATURE FETISH Exhibition performances

Saturday July 14 and Saturday, July 21
4pm and 8pm:
 NATURE FETISH: A Public Opera
9:30-11pm: NATURE FETISH Exhibition performances

Grace Exhibition Space
840 Broadway, Floor 2
Brooklyn, NY, 11206
J/M/Z to Flushing Avenue
Tickets for the July shows including the performances as part of the exhibition after the opera are a suggested donation of $10-$20 at the door only.

Press Photos, Trailers: and

NATURE FETISH is a project conceived across social and disciplinary spheres. In its final state, it is a Public Opera, a hybrid, documentary, participatory, musical, situational performance of approximately 70 minutes.
The opera will be presented by New York City’s first and only dedicated site for conceptual, body-based and fluxist performance art, Grace Exhibition Space. As part of each performance, PPL-curated artists working in time-based performance across disciplines will deal directly with the “nature” of performance, operation of “nature” in performance, and conceptions of “nature” as such.

Thursday July 12:
The Call of Nature: bodily functions and fluids, embodiment, waste, want, meat, and human impact on natural environments. FEATURING: Elinor Thompson, Miles PflanzDave RuderMatthew Silver, and Lorene Bouboushian.

Friday July 13:
NATURE FETISH opera project collaborating artists, poets, composers, and performers show solo works dealing with their own projections of “the nature of nature.” FEATURING: Jessica BathurstCory BrackenBrian McCorkleEllen O’MearaEsther NeffMichael NewtonNatasha MissickKatie JohnstonArla BermanMatthew Gantt and others

Saturday July 14:

SIMULTANEOUS: Nature Fetish Edition: Ivy Castellanos of IV Soldiers Galleryworks with 4 performance artists simultaneously as an ecosystem or food chain or other emergent system. FEATURING: Felix Morelo, Ryan Hawk, Matthew Silver, and Miles Pflanz.

Thursday July 19:
The Natural Spirit: field recordings, indeterminacy, fluxus, improvisation and the influence of performance art’s “nature” on music and dance. FEATURING:Jason AnastasoffLindsey Drury, and Kyli Klevan.

Friday July 20:
Rituals and Totems: cultural semiology, feminism, naturalism, post-humanism, and the problematics of performance and anthropology. FEATURING: Lillie D’ArmonAnya Liftig, Kikuko Tanaka, and Quinn Dukes.

Saturday, July 21:
Video, Voice and the Nature of the Self: FEATURING: Alessandra Eramo (w/ David Grollman), Heather Warren Crow, Valerie Kuehne/Tuba?No Tuba and Joseph Keckler.

Thank you to the artists who participated in the two days of performance and the round-table during Compendium: Technics!

For Friday, the no-tech night, thank you to Alejandro Acierto, who built a web in the performance space all day with Compendium curator Paul Pinto, then made a complex labyrinth of white fabric tape on the ground. Thank you to Emily Wexler, who rubbed her hair in construction dirt at the end of the street, rolled on the sidewalk back and forth, pounded her chest as the rain began to fall, and was doused by 5-gallon buckets of water and two buckets of mud and water by Compendium curator/CPR techmeister Thomas Bell. Thank you the audience members who came on time and got to see this, and got wet in the process. Thank you to Ivy Castellanos, who undressed and had us draw marker circles around her “blemishes” then put herself in a black plastic trash bag and became another animal. Thank you to Lindsey Drury, who tried hard to erase her equilibrium and throw up, spinning around for 20 minutes, drinking salad dressing, jumping, and did not succeed. Thank you to Rafael Sanchez, whose piece about Ghazala Javed’s murder was interrupted by fire trucks, police cars, and an ambulance, all pulling up to deal with this performance, and thank you to Rafael for saying “can’t a man grind a brick to dust using his hands in peace?” and the fireman’s response: “good luck with that,” and thank you to that neighbor kid across the street who had been watching and shouted “IT’S PERFORMANCE ART!” as a balloon carrying fragments of the brick disappeared up into the white sky. Thank you to Sister Sylvester, the entire team, who presented an excerpt from a new work-in-progress drawing on Moby Dick and many other sources involving a live goldfish, small models of the larger set pieces in a terrarium, and a lobster claw cooking mitt, among other items of speech, action, and object. Thank you to Hiroshi Shafer for making a piece using music box guts attached to tin and plastic plates and a hand-drawn (by Derick Wycherly) series of story boards. Thank to Matthew Silver for telling us the story, it made us laugh hysterically. Thank you to Charmaine’s Names for performing an un-amplified version of their post-modern Philadelphia experimental lounge glory without microphones, without lights, and thank you to Toby Driver (and 2nd clarinetist? lost the name…) for performing virtuosically, of course still without any technical assistance whatsoever, and concluding a day of intensity and intimacy.

The video documentation of the 2nd “full tech” day should be posted by CPR soon, but in the meantime THANK YOU to the artists of June 23, including those who came to the round-table and participated in the discussion! Thank you to those who performed technical incarnations of their work (or had performed no-tech versions of these pieces the night before): Lindsey (who did throw up a little), Ivy (who got to wear her sculptural armor), Sister Sylvester (who live-fed the taking of a weather balloon out onto the street).

Thank you also to the hi-tech Saturday-only artists: Jorge Rojas taping his face over livestream, Whitney Hunter for giving a talk about two of his pieces and their use of technology, animator/video/visual artist Brian Zegeer and banjo-player Baby Copperhead for showing/performing their film/sound project Pull My Daisy, performance artist Anya Liftig and assistant Michael Newton for their cell phone communication, and thank you thank you to Robert Dick, for demonstrating the height of human technical ability, blowing our minds (glissando headjoint®!)

Finally, thank you the audience for participating in this experimental micro-conference/exhibition! Thank you to CPR, and thank you electricity!

Come visit PPL  at CPR two weekends in a row this month!

First, we perform in:

New Voices in Live Performance Curated by Anya Liftig
Dangling Modifier– After the Comma

Friday June 15 and Saturday 16 @ 8pm (PPL performs both nights)
Tickets: Free, Donations for CPR encouraged

Artists: Tess Dworman, Panoply Performance Lab (Jessica Bathurst, Arla Berman,
Devlin Goldberg, Katie Johnston, Brian McCorkle, Natasha Missick, Esther
Neff, Michael Newton, Ellen O’Meara), John Berdel, Stephen Van Dyck

Dangling Modifier brings together east and west coast artists who are
helping to define a new avant-garde. Brooklyn based Tess Dworman
investigates the sculptural potentials of the face in movement work. Los
Angeles artists John Berdel and Stephen van Dyck work with meditation,
subtle infiltration into public spaces, and intimate performance scores.
New York’s Panoply Performance Lab examines complex systems and
traces epistemic, emotional, and socio-political viewpoints/theories using
music, text, analog electronics, video, participatory elements, and found
materials. Click here for more information.


THEN we have co-curated and co-organized this micro-conference at CPR the following weekend:

Compendium: Technics
is a public micro-conference with performances taking place over the course of two days:

Friday, June 22, 6pm-10pm
Saturday, June 23, 3pm-10pm
Panel discussion: June 23 at 4pm

Suggested donation $5-15 at the door only.
All are welcome!

Center for Performance Research
361 Manhattan Avenue, Brooklyn
(L to Graham Ave.)

Performances by: Whitney Hunter, Jorge Rojas, Sister Sylvester, drearysomebody (Lindsey Drury), Anya Liftig, Hiroshi Shafer, Emily Wexler, Ivy Castellanos, Alejandro T. Acierto, Jessica Pavone, Charmaine’s Names, Brian Zegeer and BabyCopperhead, Toby Driver, and others.

The Compendium invites these artists to research their relationships with technology, technicalities, and technics. Artists across disciplines manipulate, access, and utilize objects and systems, interacting with technics that are present in performance situations, both as part of the technicalities of presentation, and as instruments, tools, devices, visibility and amplification aids, and as part of documentation, methodological means, and aesthetic and political vehicles.

We ask, how do artists use technical means to their ends? How are techniques and technology related and/or unrelated? How are technics/technology/techniques developed and chosen as part of artistic practice, using what kinds of concerns? Who has access to technology and techniques/technics and how do they commodify/become commodified and/or de-commodify/become de-commoditized?

In an exploration of these considerations, artists will present work to the public during two nights:

Friday June 22: Hiroshi Shafer, Alejandro Acierto, Lindsey Drury, Charmaine Names, Ivy Castellanos, Amy Wexler and Sister Sylvester will perform in the CPR spaces in the absence of colloquially-defined “technology,” sans electricity, sans amplification, stripping the work of all forms of technics, even in some cases, attempting to perform without “technique.” Audiences must be present in the space to experience the work. Documentation will consist of written descriptions.

Saturday, June 23: Lindsey Drury, Sister Sylvester, Jorge Rojas, Rafael Sanchez, Anya Liftig, Jessica Pavone, Ivy Castellanos, Whitney Hunter, and Alejandro Acierto have access to CPR’s “cutting edge” technological array, including multiple projectors, sound system, and lighting grid, and may bring in their own technological devices, set-ups, electronics, and mechanisms. Audiences may view streamed performances from computers all over the world and performances will be documented on digital video.

A public round-table discussion on Saturday, June 23rd at 4pm will allow us to reflect on the collective research performed, involving the artists from the project and including other voices in live performance. Come be a part and see these incredible artists present new work!

About the Compendium

Over the course of 2012, The Compendium initiative will experiment with hybrid modes of curation, exchange, and presentation, producing exhibitions, performances, publications, and more.

The Compendium is comprised of artists who are deeply engaged with their communities. Organizing both as artists and as directors of alternative arts spaces, curators, members of ensembles and collectives, arts writers, and as agents of cultural influence, we form a “living compendium” to channel multiple agendas, intentions, and ideas into concrete support for artists and grassroots arts organizations.

The Compendium functions via face-to-face meetings, sharing time, funding, space, critical analysis, materials, transportation, residencies, publicity, skills, and other resources.

The Compendium organizers on this project are (in alphabetical order): Thomas Bell (Spread Art), Ian Colletti (Vaudeville Park), Christina DeRoos (Spread Art), Valerie Kuehne (The Super Coda), Brian McCorkle (Panoply Performance Laboratory, Varispeed), Esther Neff (Panoply Performance Laboratory, PERFORMANCY FORUM), Paul Pinto (thingNY, Seven Immediacies Series, Varispeed)

Time spent posting things on the internet is time spent NOT making art. PPL just spent a good three hours uploading images of recent performances from Berlin during MPA-B onto Facebook. Click here to spend some of your own time on the internet perusing…Now back in the bowels of Brooklyn, last night we got a chance to get good and sweaty with the work of Argentinian composer Ellen C. Covito at Vaudeville Park in a concert produced with No Collective and involving a tremendous dream-team of composers, choreographers, dancers, and musicians all beating themselves silly against walls between composer and performer, structure and improvisation, etc. Before the Covito, HAG, the project of Sean AliDavid Grollman, and Brad Henkel blew out the earwax with balloons manipulated, cymbals ringing as they scraped across drum head, bone-shaking upright bass and deft bone-hole-boring blasts and gasps of trumpet…they began all the rolling around on the score covering the whole floor too. You can and should buy their new album Moist Areas. Good times!

****Next on the Agenda***

Seven Immediacies Series, Vol. 5 – thingNY, PPL, Odeya Nini, Jason Anastasoff

Thursday, May 31, 2012, 7pm
Vaudeville Park (26 Bushwick Ave, L to Grand)

Experimental music ensemble thingNY presents the fifth installment of its Seven Immediacies Series, focused on “the body” in musical performance. Featuring Odeya Nini, Jason Anastasoff’s Full Body Ensemble, and “endless” pieces from the Panoply Performance Laboratory and thingNY’s 2011 opera project TIME: A Complete Explanation in Three Parts.

Click for more info and advance tickets


PPL is back to Spread Art and gearing up alongside fellow resident artists Valerie Kuehne + space proprieters and founders Thomas Bell and Christina DeRoos for BUSHWICK OPEN STUDIOS! HOORAY!

Spread Art Summer Group Show V

As part of Spread Art Summer Group Show V, Spread Art will host performances:
Friday night June 1, from 8pm to 10pm

Saturday, June 2 from 4pm to 10pm

Performance Art, music/sonic art, video, and conflux between these, featuring Elinor Thompson, Esther Neff, Heather Warren Crow, Felix Morelo, Valerie Kuehne, Brian McCorkle, Kanene Holder, Rafael Sanchez, Miles Pflanz, Amy X Neuburg, Jane Gabriels, Diamond Terrifier with Visuals (Trouble).

Schedule of Performances (subject to change)

FRIDAY 8pm-10pm

Remote Control Tomato
Kanene Holder
Heather Warren Crow
Elinor Thompson
Rafael Sanchez
Miles Pflanz

SATURDAY 4pm-10pm

Brian McCorkle and Esther Neff
Rafael Sanchez
Dennis Sullivan and Levy Lorenzo
break, 6pm
Valerie Kuehne
Felix Morelo
Jane Gabriels
Amy X Neuberg
Diamond Terrifier

Performances are curated by Spread Art’s artists-in-residence and include Live Music, Performance Art, Sonic Works, Live Video Streams and more.

You can watch the Live Stream Feed on Spread Art’s U-Stream BOS 2012 Channel (


Spread Art’s 5th annual “Summer Group Show” will include the works of multiple visual artists working in a variety of mediums and feature the works of Spread Art’s current artists-in-residence,Thomas Bell, Christina deRoos, Valerie Kuehne, Brian McCorkle,and Esther Neff. Also on display will be works by , Ventio, Erin Partridge, Erika Sabel, Panoply Lab, Jorge Rojas, Nicholas, Burgess, Aimee Chappell Hertog, Alix Maubrey, Justin Orvis Steimer, Christian Stolarz, Abigail Weg, Lara Goetzl, Michael Blase, Michael Pawlus and more. Installations, Photography, Painting, Video, Street Art, Drawing, Sculpture, Mixed Media.

On March 3rd, 2012, Low Lives: Occupy! will stream live performances, actions, and happenings online by artists, artist collectives, Occupy groups, and presenters in alliance with the Occupy movement.


All artists, artist collectives, individuals, and creative groups in solidarity with the Occupy protests are invited to submit proposals. Low Lives: Occupy! seeks projects including, but not limited to, live performance art, public actions and interventions, happenings, acts of protest and civil disobedience, taking place in both real and virtual spaces.

All Artists who have participated in previous Low Lives projects are eligible to submit a proposal.


Low Lives: Occupy! invites any person, group of people, and presenters to “plug in and project” the broadcast in their homes, building facades, venues and other public spaces for their local communities.

Submission requirements and other important info attached.

Important Dates:

February 6: Submission Deadline

February 10: Submitting Artists/Groups notified

March 3: Low Lives: Occupy!  6:00pm – 10:00pm EST
Selections Committee:

Jorge Rojas- Low Lives Founding Director, Producer, Curator, Artist

Christina deRoos- Low Lives Co-Producer, Artist, Activist, Nonprofit Administrator

Juan Obando- Low Lives Co-Producer, Artist, Professor of Art and Art History at Elon University
Presenting Partner and official NYC venue:

Hemispheric Institute of Performance & Politics

New York University, 20 Cooper Square, Fifth Floor, New York, NY
Presenting Partner and Online location:

Occupy With Art  –


Note– Low Lives 4, our annual Networked Performance Festival, is scheduled for April 27 – 28, 2012. A separate call for proposals will be issued on January 30, 2012.

Please help us get the word out by sharing this announcement with anyone that may be interested.

About Low Lives

Founded in 2009, Low Lives is an international platform for live performance-based works transmitted via the internet and projected in real time. Low Lives examines works that critically investigate, challenge, and extend the potential of performance practice presented live through online broadcasting networks. These networks provide a new alternative and efficient medium for presenting, viewing, and archiving performances. Low Lives offers local and global audiences a contextual frame from which to consider live performance in both the physical and virtual space.

The platform celebrates the transmission of ideas beyond geographical and cultural borders, and opens multicultural and intergenerational dialogue through visual language, new technologies, and contemporary expressions.  Low Lives is about both the presentation and transmission of performative gestures from a particular place and time. Low Lives produces an annual Networked Performance Festival. For more information, visit

About Occupy With Art

Occupy With Art (Formerly Occupennial) is an affinity group of the Arts & Culture working group. We are artists, writers, curators, and art professionals lending our skills to produce art, cultural events and projects, with a particular focus on OWS itself as a social art process. We work with organizations and artists that require a focused team to facilitate their projects. We produce art projects, large-scale events, and exhibitions. Our website,, serves as an information hub for current and past art-related activities in the OWS movement. We are committed to building relationships within OWS and with outside arts organizations.

About Hemispheric Institute of Performance and Politics

The Hemispheric Institute of Performance and Politics is a collaborative, multilingual and interdisciplinary network of institutions, artists, scholars, and activists throughout the Americas. Working at the intersection of scholarship, artistic expression and politics, the organization explores embodied practice—performance—as a vehicle for the creation of new meaning and the transmission of cultural values, memory and identity. Anchored in its geographical focus on the Americas (thus “hemispheric”) and in three working languages (English, Spanish and Portuguese), the Institute’s goal is to promote vibrant interactions and collaborations at the level of scholarship, art practice and pedagogy among practitioners interested in the relationship between performance and politics in the hemisphere.

Thanks to Quinn Dukes (stay tuned for documentation of her PERFORMANCY FORUM feat last week as well as those by Gelsey Bell, Nyugen Smith, and Aliza Simons) we are hosting UK-based performance artists Alexandra Zierle and Paul Carter this Monday night, January 30th, at 7pm!

Come out to Vaudeville Park, 26 Bushwick Avenue (at Devoe), for performance (Zierle & Carter are joined by Brian McCorkle and familiar volunteers…) “Spilled Measures Dancing at my Feet“!

The announcement:

Spilled Measures Dancing at my Feet

Alexandra Zierle and Paul Carter’s collaborative work is interdisciplinary, multi-sensory and site and context responsive spanning from live art/performance art, happenings and interventions, to sound, video and installation. Through their practice, Zierle & Carter critically examine different modes of communication and what it means to be human both as individuals and as a collective entity.

‘Zierle & Carter’s performance ‘Spilled Measures Dancing at My Feet’ was premiered in Poland at Mozg Festival 2011. It involves a series of actions that are inspired by the artists’ on-going enquiry into what love is and what it is not, exploring what actions people take in order to move from a place of ‘non love’ to a place of love.

At Vaudeville Park, the artists will perform a new adaptation. The piece will unfold in an improvised way, responding to the ‘presence’ of the space and audience contributions. Acting as an anchor point throughout the work, the sound of 10,000 pearls spilling to the ground echoes throughout the space.

Zierle & Carter’s work has been exhibited nationally and internationally, including Grace Exhibition Space (US), Exist-ence (Australia), and MOMA (US) and Plymouth Arts Centre (UK) as part of Marina Abramovics Institute for the Preservation of Performance Art and The Pigs of Today are the Hams of Tomorrow. They are currently in receipt of an Arts Council England grant for their Through the Heart: Works on Love, Life, and Laughter project.

Zierle & Carter will be collaborating with Composer/musician/sound artist Brian McCorkle: