Please join us at BOB the Pavilion for a lovely evening of music, performance art, dance, video, and more!


Wednesday, July 13, 7-10:00 PM

performing an intimate, solo dance piece

performing a mini opera tentatively entitled Jeffrey Young and Paul Pinto Run for Office with the Help of Paul Pinto as his Wingman.

* performance art * performance art *


an excerpt from A Gathering of Very Articulate Individuals 

performing her I had a dream of an endless string of beautiful days in the desert, a dance/video work


PPL composer BRIAN MCCORKLE, performing an excerpt from the work-in-progress Institute_Institut concert-style with MEGAN COOPER,

Bob the Pavilion is a composting toilet and inflated platform for performance and more

Bob The Pavilion was supported by a grant from Columbia University School of the Arts (SOA) and Graduate School of Architecture, Preservation, and Planning(GSAPP).

After the Conference of Works at University of the Streets this past weekend I feel the need to write some kind of “assessment,” so here it is.  During the Conference, Ben Spatz (Urban Research Theater) used this term, “assessment” in his discussion of technique and transmission/education, as did Dave Thrasher in his discussion of his situational, interactive project, and I think it’s a very interesting word/concept in terms of live performance. Yes, much has been made of performance’s “liveness,” its transient, temporary state and the impossibility of concrete or “scientific” assessment.  Having dissipated several days ago now, how can this Conference of Works, which included around 60 participants (most of us played multiple roles of participant/audience/performer/presenter) over the course of the two days and amassed a multiplicity of concepts and concerns, be assessed? How can its effect be charted or analyzed?

Many artists over the course of the weekend (especially those who hope for socio-political operation in some way) said that they can’t assess how their work is operating, how it’s taken by an audience, assess whether or not it’s been “effective,” and if their choices in terms of Mode, Method, and Medium have been the “right” ones.  Carrie Dashow expressed a desire for documentation and review after a participatory process, notarizing material forms as Yesiree The Notary for the Conference attendees that swore to their self-assigned artistic identities.  Towards additional permanence, Amapola Prada makes haunting videos of her staged actions, which allow the works to travel internationally and last beyond the sunny Lima days on which they are shot. Other artists participating in the Conference expressed a rejection of assessing their work and practices at all, choosing to “feel through” audiences and their reactions in order to determine if and how performance modes are effective. Chance and Melanie of The Nerve Tank said they sometimes measure the success of their work by “walk outs,” knowing that it’s literally affective when individuals can’t handle it in some way. The project Nate Hill shared often produces active responses of offense, as his website selling milk gargled by “pretty white girls” rubs salt into more than one exposed cultural wound.

But do reactions to our work control our practical experiments in the “scientific” sense, or assist any direct cause-and-effect assessment? “Science,” they say, relies on an index, something left behind where there was once the thing, while offense, or amusement, or trains of thought, quickly dissolve into life itself and can’t be indexed at all, other than by the individual to which they belong.   How can we follow through on the research aspects of our practices and put performance research towards the development of our modes and methods?  During the course of the Conference, we experienced Martín Lanz Landázuri, William Bilwa Costa, and dancers researching resonance, embodying the concept and examining  how resonance can be used in performance and performed as such.  We also experienced part 2 of Handan Ozbilgin’s 3-part Maids project,  which jumps off from the “research” text of Jean Genet’s Maids, Hyatt Michael’s  Syb’L Vane piece, drawn from The Picture of Dorian Gray, and  Hector Canonge‘s Immigrant 101, a performance-context lecture on immigration, incorporating found research images and statistics. The idea of “scientific” exploration, research, and “problems” (especially in Lindsey Drury’s intense, improvisational and site-specific dance work and Angela Washko‘s performance in which she attempted to disrupt two men building cardboard boxes), and the place where these intersect with participation and collaboration kept coming up, at times fusing into related concerns, and other times breaking apart into concrete statements about reasons for working in a certain way.

Several artists expressed during the conference that they consider the analysis and assessment of our work, and the choices we make during the process of creating work, a completely subjective task, which can’t be performed in a scientific or even articulable manner, as no unified or communicable, objective analysis or set of decision-making criteria can be constructed.  On this note but in a different key, J.J. Lind of Immediate Medium spoke during the Sunday round-table about how his collaborators, coming from varying mediums, backgrounds, and fields, working immediately and in the moment together, can build a stronger aesthetic and conduct powerful experiments. This idea perhaps suggests that collaboration is inherently a form of constant analysis that negates the need for formal assessment. Collaboration across disciplines seems to provide an anodyne in this way to the “problem” of subjective analysis, as multiple artists can walk away from a collaborative with something subjective learned or explored, or they can create a kind of “meme-plexic” index, that pools subjective responses outside of the individual selves involved. Jason Andrew, founder of NORTE MAAR for Collaborative Projects in the Arts has found that co-creation between artists from different disciplines produces new modes of expression and experiment, as have experimental music ensemble thingNY’s Paul Pinto and Gelsey Bell. With collaborative and participatory processes in mind, I believe that the inherent “subjectivity” of an analytic process does not make such a process of assessment or analysis less useful; “subjective” sometimes becomes a buzz-word that means we don’t have to talk about it in public, but perhaps it means that when something is seen as subjective, we simply must perceive it in a different way, through the convergence  of a wide range of subjective perspectives.  Perhaps we need to collaborate on experimenting with analysis itself.  In my mind, this was the task of the Conference, to get a multiplicity of subjectivities out of a private sphere and into an analytic public one.  In the organization of the conference, the attempt to combine a number of subjective perspectives and analyses wasn’t about getting closer to “objectivity” by finding the similarities/common denominators between subjective perceptions, rather it was about gathering and being able to see more than one perception at a time, gathering perceptions outside one’s own, and considering them as a range of assessments.  Perhaps one could also say that this goal (of seeing more than one subjective perspective) is one of the primary operations of performance arts, performance research, and the subsequent experimentation that these modes catalyze.

I can only say for certain that the experience overall with this conference, for me, was consuming, overwhelming, at times confusing, and powerfully moving, and that the plethora of subjective goals, assessments, tasks, and conclusions took me closer to knowing how to research, through my own practice, the multi-dimensional reality that we all experience from such difference angles. I am incredibly grateful to all who participated, for their generosity, articulation, expression, communication, recognition, organization.  Thank you to those I mentioned here, and to the many others who came, participated, performed, perceived, and practiced (esp. Paul Pierog, who was the only person other than Brian and I who attended the entire conference, both days, first to last).  I hope we do it all again soon!

You are cordially invited!

May 21st and 22nd 2011 at University of the Streets.

This conference, MODE, METHOD, MEDIUM brings together artists and cultural organizers who work between disciplines both in terms of medium and in terms economic/field-based distinctions. We hope to take a step towards dialectic and artistic solidarity between the independent and ‘avant-garde’ communities in dance, performance art, theater, and music, and to share our vocabularies and methods.

Presentations will include performances, project presentations, artist talks, papers, and interactive workshops.

Inherently and formally political, often interactive and/or participatory,  always startling and deeply considerate, artists, curators, scholars, and cultural organizers will share their work, discuss their practices, and participate to two open round-tables about what “medium,” as a mode of transmission, means to us now.

Saturday, May 21, 2pm-6pm
Sunday, May 22, 2pm-10pm

Public round-tables at 4pm both days

University of the Streets
130 East 7th Street (between 1st Avenue and Avenue A)
New York, NY 10009-6164

Open to the Public

Participating artists and companies include:

Handan Ozbilgin, showing part three of her MAIDS project, members of experimental music ensemble thingNY, Ben Spatz/Urban Research Theater, JJ Lind and Liz Vacco of Immediate Medium, Peruvian artist Amapola Prada and her Lima New York Project, participatory performance art-ist Carrie Dashow, cultural organizer/icon Jason Andrew, sound and movement researchers William Bilwa Costa and Martin Lanz Landazari, Ashley Kelly-Tata of Enthuse Theater, the pyromaniacs from Aztec Economy, Melanie Armer and Chance Mueleck of Nerve Tank, GoGoVertigoat’s Lindsey Drury, and interdisciplinary practitioners Sarah Maxfield, Angela Washko, Rebecca Patek, Nate Hill, Hyatt Michaels, Gelsey Bell, Dave Thrasher, and many others!


Saturday, May 21

Handan Ozbilgin (MAIDS)
Dave Thrasher
Hyatt Michaels
Carrie Dashow
4:15pm-5pm: round-table 1
medium, mode, method (emphasis on participation)
Amapola Prada


Sunday, May 22nd

2pm-3:15 pm
Hector Canonge
3:15 -4pm Nate Hill
4pm-5:00pm: round-table 2
medium, mode, method (emphasis on discipline)
5:00 performances
Angela Washko
5:30-7pm: presentations/artist talks

Jason Andrew
Gelsey Bell
Sarah Maxfield
The Nerve Tank
William Bilwa Costa, Rebecca Patek, Martin Lanz Landazari
Lindsey Drury
8:45-9pm (clean up and short break)

Ben Spatz/Urban Research Theater
Aztec Economy

This conference is organized by Esther Neff of the Panoply Performance Laboratory, with advice from The Nerve Tank! Thanks to all participants, who have created the form of this weekend.


Arts in Bushwick’s SITE Fest hits Surreal Estate, 15 Thames
on the 1st anniversary of the PERFORMANCY FORUM!!!

Saturday, March 5, 7pm-1am
Sunday, March 6, open SITE, 2pm-6pm

Work by:

Alejandro Acierto (installation with performance on Saturday night)
Gelsey Bell (performing from her solo song cycle “Bathroom Songs”)
Hector Canongee (performs ‘Ocular-Trance-Ocular’ with Maria Fernanda Hubeaut)
Ivy Castellanos (installation with performance on Saturday night)
Brian McCorkle (music/performance)
Esther Neff (YOU)
Paul Pinto (experimental music)
Brian Rady (theater/performance)
Matthew Stephen Smith (theater, excerpt from an upcoming one-man show)
Meghann Snow (performance art)

This past year has been incredibly stimulating for PPL and for Surreal Estate artists, thanks in large part to the influx of new collaborators and the work of artists participating in the PERFORMANCY FORUMS. Hector Canonge performed at the very first PF, opening the door on a whole host of exhibitions, conversations, and collaborations with other powerful artists; as a curator, organizer, and friend, Hector empowers everyone with whom he comes into contact.

Additionally, at least half of the artists in this exhibition collaborate with one another as experimental music ensemble thingNY, with whom PPL is currently collaborating on this piece for May, 2011. Click HERE to watch thingNY performing one of the pieces of SPAM 2.0, the awesome show they just did at LPAC.

Others in this exhibition are collaborators as old as the hills (9 years!) and some are newer collaborators and influences, as the old rhyme goes, precious metals and whatnot….heck, there is nothing like gratitude for people you respect to cut through the depressing weather of March!

It seems 2011 has been packed into this single month of January. First, the city gave way to a month of theater and performance art unparalleled.

PPL loved Gob Squad’s Kitchen at LaMaMa best, because it (on one hand) provided a experience that completely enveloped us during its performance and obliterated all attempts at in-the-moment analysis, and (on the other hand) thoroughly convinced us in retrospect that audience-participation can be both electrifying and dramaturgically satisfying. We were also on the edge of our seats during the post-performance talkback with Richard Shechner, which was presided over by Ellen Stewart, just days before she passed on; she would have become the world’s greatest theater ghost except for the fact that she can certainly rest in peace with the assurance that her business will continue to be carried out…

PPL also got jolted into the new year by Object Collection’s INNOVA at the Incubator Arts Project. Contact mics, live-feed close-up on the erosion of sugar cubes with food dyes, and another Modern Peter Ksander classic design. ..strange this year how Under the Radar seemed more in dialogue with than in competition with all of the other APAP-cluster, PS122’s COIL, IAP’s Other Forces Festival, etc. What a month, what a month!

On the home front, PPL organized/curated Performance Art’s Roots, Doppelgangers, and Shadow Selves (PERFORMANCY FORUM IX) at Surreal Estate, into which the Bushwick throngs packed themselves to see (in order of the evening) Kikuko Tanaka sleeping across the silicon-dripping sculpture of a dead deer with its beaded head suspended above, a live chicken pecking through plastic flowers, fruit, and deer parts as audience members knelt and crocheted on cushions around her (Brian wore a policeman suit the entire night as part of this piece, eventually reading a poem which woke Kiko and knocked down a structure made of stacked clear plastic cubes), the magnetic Sanda Weigl’s performance of songs such as Der Bilbao Song by Kurt Weill, which kept each audience member hanging on her voice, which Sanda brings from the sweetest, softest croon to the brassiest, sharpest expression, this time accompanied by bearded boys she referred to as “my new rock band,” PPL’s Brian McCorkle (keys), Mike Hanf (guitar), Jason Anastasoff (bass) and Daniel Malone (drums)…(watch for performances by this newly-created collaboration at Barbes and elsewhere upcoming…) Ivy Castellanos’ post-apocalyptic performance in which she, like a Sisyphean gladiator, rolled a huge carpet of thick paint on screen across the space from atop a pair of five-gallon buckets, Joseph Keckler’s terrifically witty character-voiced monologues and songs (don’t miss his upcoming video work at Apex Art, then his theater piece at PS122 during solonova this spring!), Anya Liftig having dinner with a salmon (raw, but not alive! The animal rights activists at Surreal Estate created a terrific stir about this) and consequently wearing its gutted carcass on her head and blending some of its flesh into a pink wad, which she then drank,

Anya Liftig, 'The Human Factor' Performance with 14lb Salmon, Surreal Estate 2011

and the always-charismatic Alison Ward’s performance, for which she gave the audience tarot-like cards corresponding to interactive on-stage actions, all the while harassed by a jeweled and gunk-caked mouth projected on the wall…


Check our Vimeo channel for video documentation of this show!

The Panoply Performance Laboratory (PPL) and Surreal Estate present:


Saturday, January 15, 8pm, 2011

Surreal Estate Performance Space
15 Thames Street
Brooklyn, NY 11206

(take the L to Morgan, walk two blocks away from the Manhattan skyline to Thames St.)

The conceptual, durational, non-object-based sides of performance art come into collision and conflict with popular, folk, and spiritual sides in this evening of performances by artists influenced by and working with the aesthetics, structures, and intentions of performance art’s most culturally rooted aspects. A certain type of subversion exists in this work, especially in its relationship with performance art’s doppelgangers, burlesque and cabaret. Confronted with these refracted sides of performance art, these artists use subjective and aesthetic experience to create hybrid work.

Ivy Castellanos

Ivy Castellanos is a resident artist at Surreal Estate and works in video, performance, sound, sculpture, and more.

Joseph Keckler (photo by Adam Gardiner)

Joseph Keckler was born in Michigan, and grew up in one of several tiny towns that begin with the letter P and slowly orbit the relative metropolis of Kalamazoo (completing a full circle once in a human lifetime.) Joseph spent his early life inside his mind, before moving out of it as a teenager to wander the aisles, late-night, of the local 24hr Walmart, and lollygag in the basement dwellings of self-proclaimed warlocks, waiting in vain for them to levitate scraps of paper. He attended the University of Michigan, where he trained as a painter and an opera singer, graduating at the top of his class. He immediately moved to New York City to establish himself as a singer, performance artist, and avant-monologist. In the past year, his multi-media extravaganzas, plays, and concerts have been presented by The New Museum, Joe’s Pub, Envoy Enterprises, La MaMa ETC, The Players Club (in conjunction with a commission from Cinema 16 and in collaboration with violinist Dan Bartfield), Ars Nova, and The Transmodern Festival, among others. Joseph has been awarded a residency at Yaddo Artist Colony to develop new work and just recorded an E.P, Featured Creatures, which will also be released in Italy by Transeuropa. He is currently writing a book.

Anya Liftig

Anya Liftig is a nationally and internationally recognized performance artist. Her most recent work, “The Anxiety of Influence,” was an intervention into Marina Abramovic’s “The Artist is Present” retrospective at MOMA. Liftig dressed as the elder artist and sat across from her all day. Liftig’s work has been featured at TATE Modern, Highways Performance Space, Exit Art, Chashama, Surreal Estate, Eyedrum, Atlanta Contemporary Art Center, Galapagos, The Flea, Yale University, INCUBATEChicago, University of Wisconsin, University of Chicago, Mess Hall, Joyce Soho and many other venues. Her work has been published and written about in The New York Times Magazine, Bomb, The Wall Street Journal, Vogue Italia, Marie Claire Italia, Heeb, Mix Magazine, Next Magazine, Now and Then, Stay Thirsty, New York Magazine, Gothamist, Jezebel, Animal New York and many others. She is a graduate of Yale University and Georgia State University and has received grant and residency support from The Field, Vermont Studio Center, University of Antioquia, Casa Tres Patios-Medellin Colombia, and Flux Projects, Atlanta.

Kikuko Tanaka

Kikuko Tanaka is a New York-based, frantic artist whose series of work “A Tragic Bambi” revolves around a recurring motif of her urination on a dismembered body of Bambi. Her work consists of various mediums: sculpture, installation, performance, photography, video and text, and unfolds her own symbolic system in which each work in the series interacts with others and offers multi-layered interpretations. She is especially interested in examining her own psychological nature, issues of art-making itself and being in ecstatic state, through repetitious labor and symbiotic experience with her audience participants. She has exhibited in various venues, including Smack Mellon, Momenta Art Artists Alliance Inc, Arario Gallery, Amelie A. Wallace gallery at SUNY Old Westbury, Curious Matter, Hudson Guild Gallery, Vox Populi, to list some of them. Her work has been reviewed in Art in America, Art Info and Hyperallergic.

Alison Ward

Alison Ward’s performances, videos and sculptures create a world populated by a masked and costumed cast that re-interpret her own image in the form of popular, religious, and ritual cultural icons. Her characters struggle with each other and the audience through activities that combine violence and overt sexuality with slapstick physical humor. With the help of these characters, she creates scenarios that simultaneously exist in the realms of physical comedy and the unknown. Exhibitions include Haven Arts, The Dumbo Arts Center, and the Bronx Museum as well as the CCCB Museum in Spain, RAW Space Gallery in Australia and Castlefield Gallery in England, as well as spaces such as the Queens Museum here in the states. She has done residencies at Raw Space in Australia, The Artist in the Marketplace Program, and the LMCC studio program, The Waterpod Project in New York City, and LMCC’s Swing Space Program. She has received grants from the Brooklyn Arts Council and the Lewisham Arts council in London to perform her work. She is currently a resident artist at Flux Factory in Long Island City, Queens.

Sanda Weigl

Sanda Weigl was born in Bucharest and was a child star on Romanian national television. Political persecution chased her family to East Berlin where her father was reunited with Helene Weigel, Bertolt Brecht’s widow and director of the Berliner Ensemble. While a teenager, Sanda joined the state-sponsored rock band Team 4, lead by future East German Deputy Minister of Culture Hartmut Koenig. Team 4’s song “Der Abend ist gekommen,” sung by Sanda, hit number one on the charts and epitomized the swinging sixties, East Berlin style, with its driving pre-Krautrock sound. At the height of Team 4’s success, Sanda became embroiled in the political unrest of 1968. Labeled an enemy of the state, Sanda was expelled to West Germany, where she started her second career in the Schiller Theater in West Berlin. Her work in the theater included collaborations with Luc Bondy, Juergen Flimm, and Peter Zadek, among many others. Sanda married dramatist/actor Klaus Pohl and was assistant director on three of Robert Wilson’s pieces, Civil Wars, Hamlet Machine, and Parsifal. With the help and encouragement of Robert Wilson, Sanda and Klaus emmigrated to New York, where Sanda was reunited with her childhood friend, violinist Alexander Balanescu, leading to performances of Romanian Gypsy music with the Balanescu String Quartet in London and Hamburg. Sanda then met composer Anthony Coleman, who became producer and arranger for her first recording since Team 4. He also brought in many of New York’s greatest musicians, including Glen Velez and Marc Ribot, and introduced her to the players who would become the nucleus of her ensemble, Alex Fedoriouk, Curtis Hasselbring, Brad Jones, Ted Reichman, Roberto Rodriguez, and Doug Wieselman. Sanda has since become an icon of traditional Gypsy music, as well as a renowned avant-garde vocalist and jazz singer, most recently performing with Japanese percussionist Satoshi Takeishi and the Japanese Connection at Joe’s Pub and many other venues in New York, and all over the world.

Surreal Estate (space) is Brooklyn’s largest and most diverse live/work arts and activism collective.

The Panoply Performance Laboratory (curators) is a performance co-operative formed by director/librettist/designer Esther Neff and co-directed by composer/sound artist/musician Brian McCorkle. Following a mission to encourage mass participation in the distribution of the sensible, understand conceptual genealogies, socio-political structures, and performance itself, PPL creates music-driven, documentary-based performance works, primarily operas, with a diverse array of collaborators, from all disciplines, fields, and walks of life. Additionally, PPL is dedicated to sustainable practices such as the use of recycled and found materials in their production of portable, low-budget “educational” performance art for a diverse audience. PPL curates the PERFORMANCY FORUM in Bushwick, Brooklyn at Surreal Estate where they are currently in residence.

Bushwick is the place to be this weekend (and every weekend of course!) as Arts in Bushwick in collaboration with the area’s spaces and artists presents BETA Spaces (Bushwick Exhibition Triangle of Alternative Spaces), a free one-day festival of conceptualized and thematic group exhibitions this Sunday November 14th, including Surreal Estate, from 1-8pm.

Please come out to see us at FOUND:free materials and post-consumer art. The exhibition explores the conflux between recent trends towards the environmentally sustainable practice of using found and recycled materials and the post-consumption-based philosophies of performance art.

Be sure to time your visit to see Chin Chih Yang‘s interactive performance ‘PROTECTION’ starting at 5pm! This piece involves some very real barbed wire…

Visual art in the exhibition features installation and sculpture by Carrie Mae Rose, including her beautifully tense pieces assembled from scissors confiscated in airports, agave leaves, and gold-leafed twigs, Samwell Freeman‘s touch-sensitive sculptures made from plastic forks and the guts of tiny electronic devices, and an installation by printmaker for the revolution Lucy Valkury, as well as a video work by PPL.

Come by for the art as well as some piping hot tea!

On October 8th at 8pm PPL is hosting the sixth PERFORMANCY FORUM, which will explore intersections in contemporary performance practices, facilitate informal peer feedback on works in progress, and work to create a community of conscious, post-product-based working artists. This time, through the lens of female authority, as we present all-women artists.

Click Here for the Facebook event.

DON’T MISS this one! It’s going to be incredible:

Heidi Lauren Duke, opera director and choreographer, will be showing Lorca en Nueva York, a devised theatre piece using Federico Garcia Lorca’s poems and songs as found text, weaving them into a tapestry of the New York Experience through Lorca’s eyes. Performed in Spanish with English titles, the piece will culminate in a greater understanding of Lorca’s impact on urban life in the 20th century, and in the century to come. Additional new music by Anthony Ocana. Devised and directed by Heidi Lauren Duke. Featuring live performance by Carmine Aufiero, Sayda Trujillo, Laura Bohn, Anthony Ocana, and Heidi Lauren Duke. Movement developed by Sayda Trujillo and Heidi Lauren Duke. Projection photography by Will O’Hare.

Mariana Valencia , dancer, choreographer, and multi-media artist will be showing Huesitos z.p.g, created by Mariana Valencia/Rhinoceros Event and performed by Lydia Adler Okrent and Mariana Valencia. Mariana focuses on handmade things that grow from learning concepts by heart. She piles texture upon imagery upon sound to relay ideas of the everyday. Mariana’s performances are sensitive to mammoth-like instincts which fulfill sentiments of death, earnestness and etc.

MR Daniel, composer and sound artist showing Fell Through A Crack, a multimedia piece dealing with a daughter chasing an elusive relationship with her mother. The piece employs processed sound, movement, video, live voice and text.

Anya Liftig , performance artist, actionist, and interventionist, will be showing two untitled works on video that deal with making love to and with nature and explore the boundaries between humans and the environment that we live in.

postpost are Zoe Coombs Marr, Natalie Rose and Mish Grigor, a collaborative performance ensemble, based in Sydney and formed in 2004. Exploding out of the hot young Sydney DIY scene, post are fast gaining a reputation as one of Australia’s most interesting contemporary performance groups. Their performances are a unique combination of political sensibility and kitsch comedy. They make theatre, installation and video, and are constantly fascinated by the different manifestations of performance as it is placed in different spaces and contexts.

Heidi Lauren Duke

Mariana Valencia (foreground)

Anya Liftig (left)

MR Daniel

post: Zoe Coombs Marr, Natalie Rose and Mish Grigor

Suggested donation of $5 at the door, BYOB
(proceeds go to the arts and activism collective and performance space, Surreal Estate. Additional donations to the performers).

This PERFORMANCY FORUM, the sixth curated by the Panoply Performance Laboratory’s Esther Neff and Brian McCorkle at Surreal Estate, includes hybrid performance art, theater, music, and video works.

Surreal Estate
15 Thames (between Morgan and Bogart, two blocks from the Morgan “L” stop)
Brooklyn, NY

Yes, it lived up to the hype! THANK YOU artists for sharing your work! For those of you who did not attend, you missed performances by:

Silvie Jensen

Melissa Shaw

Meghann Snow

Tom Swirly

Quinn Hechtkopff and Anne Bassen

Damien Quinones

Emily James

and (they showed up on their way to another gig and delivered one hell of a performance)

Paul Pinto, Gelsey Bell, and Andrew Livingston.

It was all pretty hot and everyone got the neurons swimming, like poked tadpoles. I assume neurons swim, doesn’t everything?

One of the most interesting things about the PERFORMANCY FORUMS (now that we have had four this is more apparent) is how flexible they are in terms of tone and mood, both as a whole, and internally throughout the evening. I think this flexibility is partly due to the forum’s mix of amateur performers with professionals, one moment the audience members are squirming with a certain open-mic discomfort while others applaud wildly, the next moment the same people enthralled by something wholly powerful, but others feel the former way, and so on. As a curator, there isn’t a whole lot I can do about this, with subjectivity considered, etc etc, but I’m not sure it’s a bad thing. Performance is a delicate medium, and it needs a lot of breathing room and then a lot of formal consideration.

My questions for continuing the PF include:

1.) how can the performances/performers interact with one another, not necessarily in terms of participation but in terms of flow, tone, mood, and overall dramaturgy? Should we have themes or central concepts for each PF?
2.) how can “quality” be removed from the experiential equation? What is quality and how should be speak about it in this context? Does everyone have the “right” to perform?
3.) how can the artists be given a concrete reaction to their work? Do we even really want this? How about feedback forms?

Artists who have participated, or others who hold forums/salons, do you have ideas about any of this?

The space is so different now, it is practically unrecognizable. Uploading of images from this past Friday’s PERFORMANCY FORUM will happen soon! We had a lot of music this time, from the likes of Chimneys, Bonnie Kane and Scott Prato, Jason Anastasoff, Brian McCorkle, Nathan McKee, ANON, poetry by Kelly Egan, and spoken word by Velez Moore!

The next event is on July 2nd. This month we are going to attend some similar events, especially Potion Collective events and the Catch performance series. These groups go a long way towards making performance a popular form of entertainment, with evenings of it organized like band shows. Come on out, young peoples!