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PERFORMANCY FORUM

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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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VISIT THE PF:QUINQ WEBSITE

PF_OVERALLPOSTER

PERFORMANCE FORUM QUINQUENNIAL is a 12-day conference October 8-25, 2015:

conference = a situation during which persons confer
conferance = a “con” like “comicon” for makers and fans
conference = a culmination of a period of labor
conference = states of being and becoming together

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Thursday, October 8: N/A PARTAY
Friday, October 9: FEELING YOU LIBERATES ME
Saturday, October 10: FEELING TOGETHER
Sunday, October 11: ESCAPING FROM HELLWOR(L)DS
@
Grace Exhibition Space

Thursday, October 15: IN COMPLEXITY OF
Friday, October 16: SYMBOLS OF FREEDOM + GLORIOUS MADNESS
Saturday, October 17: INTENTIONALITY, LONLINESS, COMMUNITY
Sunday, October 18: RESISTING CAPITALISM
@
Panoply Performance Laboratory

Thursday, October 22: TRAUMA SALON
Friday, October 23: CORRUPTING FLESH
Saturday, October 24: MOVING TOWARDS MULTIPLICITY + FLEXIBILITY
Sunday, 25: PURSUING IDEATION
@
Grace Exhibition Space

╳╳open to the public every day╳╳
╳╳sugg. donation $10-30/day, no one turned away╳╳
Beverages lovingly provided by Brooklyn Brewery

PRESENTERS/ORGANIZERS/ARTISTS:

Adriana Disman, A Feminist Collective, Alex Romania, Alice Vogler and Jessica Gath, Angela Freiberger, ANGELI, Anja Morell, Anya Liftig, Baxton Alexander, Ben Bennett, Bobby English Jr, Britta Wheeler, Butch Merigoni, Chloe Bass, Chun Hua Catherine Dong, Daniel Larkin, David Ian Griess, Dolly Dharma, Édgar Javier Ulloa Luján & Laura Blüer, Emily Oliviera, Emma-Kate Guimon, Esther Neff, Florence Nasar, Grace Exhibition Space (Jill McDermid and Erik Hokanson), Hiroshi Shafer, Hoesy Corona, Honey McMoney, Hrag Vartanian (Hyperallergic), Ian DeLeon + Tif Robinette (aka AGROFEMME), Ivy Castellanos, Jenna Kline, Jon Konkol, Julia Croft/Future Husband, Kaia Gilje, Kerry Cox, Kikuko Tanaka, Leili Huzaibah, Lital Dotan and Eyal Perry (Glasshouse Life Art Lab), LJ Leach, Lorene Bouboushian, Marcelline Mandeng, Matthew Gantt, Meli Sanfiorenzo, Michael Newton, Naked Roots Conducive, Nathanial Sullivan, Nicole Brydson, Panoply Lab, Quinn Dukes, Rae Goodwin, Raki Malhotra, Rebecca Beauchamp, DIVERSITY FELLOWS, Robert Lisek, Shawn Escarciga, Social Health Performance Club, Soufïa Bensaïd, Sura Hertzberg, Thomas Albrecht, Valerie Kuehne/The Super Coda, Fauziya Sani, Zhenesse Heinemann, Alex Romania, Tatyana Tenenbaum, Tsedaye Makonnen 

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PERFORMANCY FORUM QUINQUENNIAL marks 5 years of the platform PERFORMANCY FORUM, a project supporting and debating performance practices since 2009, organized by Panoply Performance Laboratory’s Esther Neff and the anonymous, flexible entity known as “Brooklyn International Performance Art Foundation (BIPAF)”

http://panoplylab.org/quinquennial/
http://www.performancyforum.com/
http://www.bipaf.net/

ORGANIZATIONAL STRUCTURE:

Performance of organizing the conference is in three layers, beginning as a series of diagrammatic interviews 
12 AGENDAS were synthesized from these diagrams.
Presenters made responsive abstracts to these agendas, which can be found HERE.
Finally, from October 8-25, 60+ responsive presenters self-organize and produce three weekends of a public conference.

Please e-mail panoplylab@gmail.com or bipafbipaf@gmail.com with any questions or inquiries.

 

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

In ongoing dealings with performance art and its modes of production,  PPL release the Summer 2014 Open Call.

PF_opencall

DEADLINE: JUNE 19, 2014
EXHIBITION: JULY 19, 2014

Can performance artists “emerge”? Are we looking to “establish” and “become visible?” (if so, what do we mean by this?) Are we trying to become famous? Is your cause an emergency? Do you need something? Do you have something you want seen? We coin a term, “EV” (“Emergency Visibility”) to describe, in general and in specificity, the ways in which live performance art problematizes these concerns and often subverts conceptual, economic, and other formal paradigms.

PERFORMANCY FORUM is a platform, it holds you up, but only so that you can be seen as part of an immediate situation by a living witnesses, who exist with you in the here and now. There is no visibility beyond the present tense, no life to the work beyond it’s liveness. There may be taken photographs or video. There may be post-performance discussion. But there will be only subjective schemas by which you may measure whether or not the performance you made became visible.

Please make proposals (ideally in debate with the above) for performances to occur on SATURDAY, JULY 19, 2014 at Panoply Performance Laboratory in Brooklyn, NY.

ⓞINCLUDE IN YOUR PROPOSALⓞ

duration
tech needs
description
links to past work

in an email to: PANOPLYLAB@GMAIL.COM

FIVE ARTISTS will be selected to create performance works for the evening at PPL.
Preference is given to artists who have not performed here before (NEW BLOOD).

Artists receive all donations from the door and free beer all night + a souvenir screenshot of the Facebook event page*

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*Unfortunately we do not have funds to support travel to or housing in NYC, we are a studio space run by artists, not an institution.

panoplyimagePanoply Lab (the collective) in conjunction with Panoply Performance Laboratory (the space) is holding an Open Call for PERFORMANCY FORUM to open up this platform beyond our curatorial horizons and interpersonal relationships. FALL AND WINTER OPEN CALL 2013-14.

TO PROPOSE:
First, please read the information about PERFORMANCY FORUM and Space Conditions below. If you are interested in the platform please send an e-mail to panoplylab@gmail.com with the following:

1.) REASONS YOU MAKE PERFORMANCE WORK or ETHOS or ABOUT YOUR PRAXIS (to help us form each PF around the work and individuals involved)
2.) PROPOSED DURATION FOR A PERFORMANCE
3.) TECHNICAL NEEDS/MATERIALS TO BE USED
4.) WORK SAMPLES OR LINKS
…and any other information you would like to include. We do not require that you know in advance what your performance will “be,” only that it has formal impetus. (If you are proposing a “scripted” “choreographed,” “composed,” or “scored” performance, please feel free to include a description).

DATES:*
Monday, September 23
Sunday, September 29**
Thursday, October 10
Saturday, October 19
Monday, November 11
Saturday, December 7
Saturday, January 4
PLEASE NOTE WHICH DATES YOU ARE AVAILABLE IN YOUR PROPOSAL.

Exhibitions have each taken unique forms, including “cabinet” (one performance after another, followed by a discussion), “simultaneous” (durational performances all happening in the space or overlapping), single durational and/or social/relational/interactive performances, “group workout,” “research office” and many others. If you have an idea for form, please also include in your proposal.

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ABOUT PF:

PERFORMANCY FORUM is a clustering, condensing, and critical effort comprising interdisciplinary exhibitions (emphasis on performance art, social performance practices, and participatory/publicly engaged work), workshops, conferences, actions, events, and more.

PERFORMANCY FORUM began in 2009 as a project of the Panoply Performance Laboratory (PPL) while the collective was in residence at Surreal Estate. It has since become an open project, collaborating with spaces, sites, curatorial collectives, and many others to:

1.) Forge IN-PERSON relationships (including collaborations) between artists from different artistic mediums and micro-communities.

2.) Perform collective research, including contextualization of current performance and social practices within historic, economic, socio-political, and aesthetic genealogies.

3.) Provide a site (physical and cognitive) for complex and critical thought beyond academic and other institutional parameters, for political and cultural organization amongst artists, and for experimentation with modes, methods, and mediums in conjunction with concrete practice.

4.) Involve publics of ‘artists’ and ‘non-artists’ alike in constructive, collective, and critical analysis and debate of artistic operation.

www.panoplylab.org/performancy.html
PERFORMANCY FORUM is curated by Panoply Lab (Esther Neff and Brian McCorkle)
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SPACE CONDITIONS:
If your proposal is accepted, we ask that you schedule a site visit with us if you have never been to PPL. We allow almost all forms of mess, fire, nudity, drilling holes, hanging things from the ceiling, etc. Sidewalk, nearby baseball diamond, and other public areas are usable in addition to the approx. 20’X20′ whitebox. We have PA, microphones, music stands, small tables, chairs, a piano, a projector, and clip lighting.

******asterik notes from schedule***********
*The space also hosts “Performance Art Open Space” on the first Sunday of every month for works-in-progress and 10-minute actions without the critical framework of PERFORMANCY FORUM. Sign-up begins at 5pm day-of.

**NOTE: September’s durational performances will take place at goodbye blue monday on Sunday, September 29 as part of Experi-MENTAL Fest 5 and will feature Sindy Butz, PPL, and Geraldo Mercado. This exhibition is closed for submissions.

Thank you for your interest!

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)

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.

http://www.zierlecarterliveart.com/

‘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: http://www.panoplylab.org/brianmccorkle/