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METAMORPHOSIS.jpgNovember 16, 17, 18, 2018

Panoply Performance Laboratory (re-opening as IV Soldiers in 2019)
104 Meserole Street
Brooklyn, NY 11206

104 MESEROLE STREET has been Panoply Performance Laboratory (PPL)” organized by the collective of the same name since 2012. As of January 1, 2019, the site will be renamed “IV Soldiers,” organized by IV Castellanos and Amanda Hunt.

Under the name PPL, the site has operated as a laboratory for the performance art communities of Brooklyn and beyond, home to hundreds of events, gatherings, meetings, exhibitions, thinktanking sessions, projects, and performances. METAMORPHOSIS celebrates the movement mentalities and states of constant adaptation and (intra)relationality that (in)form our practices and projects, culminating 7+ years of work by artists with practices centralizing liveness, presence, and social situation/interaction and activation.

FRIDAY, NOVEMBER 16

7pm:
Jodie Lyn-Kee-Chow and Kanene Ayo Holder
Shawn Escarciga
Anya Liftig
Miao Jiaxin

SATURDAY, NOVEMBER 17

4pm: COMMUNITY MEETING

6pm: performances begin:
Honey Jernquist
Anja Ibsch
Dominique Duroseau
Geraldo Mercado
Ayana Evans
IV Castellanos and Amanda Hunt

SUNDAY, NOVEMBER 18

4pm:
Rafael Sanchez
Lorene Bouboushian
Maria Hupfield
3dwardsharp
Julia Santoli
PPL

 

ABOUT THE ARTISTS:

JODIE LYN-KEE-CHOW AND KANENE AYO HOLDER

According to Brooklyn Historical Society there are currently 83 Brooklyn streets named after slavemasters (of which Meserole Street is one.)
Jodie and Kanene’s project, Joncanooaacome at the Crossroads deals with gentrification and lost traditions of Africans in the Americas. During this public performance, the artists will perform ritualistic dances while inviting participants to tell their Brooklyn street addresses and shred clothing that they’ve brought while incorporating our materials to complete their own Junkanoo costumes. http://www.culturepush.org/2018-spring-fellow-kanene-holder-jodie-lynkeechow/

Kanene Ayo Holder (b. Brooklyn) is an award winning educator, activist, satirist and performance artist based in Harlem. Holder works with interactive street theater and performances to encourage discussion about social issues. Her satire Searching for American Justice: The Pursuit of Happiness which highlights the ineffective systems that benefit the 1% and continue to put #profitoverpeople was covered by the New York Times and Village Voice. Holder has performed at various venues including Brooklyn Museum (2011), The New York International Fringe Festival (2005), La Mama ETC (2008), Aaron Davis Hall (2009), Symphony Space (2003), University of Granada in Spain (2009), QMAD Festival (2012), and NYU Low Lives Festival (2012). She recently received a fellowship from Yale’s Thread program for non-fiction storytelling . Holder is also a recipient of grants including from Lower Manhattan Cultural Council (2006), Franklin Furnace (2007) and NYFA/UAI (2005) and was a finalist for Creative Capital in 2012 to support her artistic practice. Holder blogs for the Huffington Post and has contributed political commentary on CNN and BBC, among others. Holder also lectures on race, media, literacy, art history and African Diasporic history at various institutions including Studio Museum of Harlem, Museum of Art and Design, Columbia University and NYU. Holder received her B.S. in Speech Pathology from Howard University and research fellowships from the National Endowment for the Humanities (2009 and 2016), The Colin Powell Center for Policy Study (2008) and Bard College (2010). She received her M.S.Ed in Childhood Education from City College. Holder is a recent recipient of a Innovative Cultural Advocacy Fellowship from the Caribbean Cultural Center African Diaspora Institute while becoming the Art Department Chair at Broome Street Academy High School. At BSA she supervises art teachers and oversees internships, a talent show and trips for over 300 underprivileged and LGBTQA youth, emphasizing creativity and critical thinking.https://sitchaassdown.com/

Jodie Lyn-Kee-Chow (b. Manchester, Jamaica) holds a BFA with honors in Painting from New World School of the Arts, University of Florida, (1996) and an MFA in Combined Media from Hunter College, CUNY (2006). Lyn-Kee-Chow often explores performance and installation art drawing from the nostalgia of her homeland, the commodified imagery of Caribbean primitivism, folklore, fantasy, consumerism, spirituality and nature’s ephemerality. Exhibitions of note include “Queens International 4”, Queens Museum of Art, NY (2009), “10th Open Performance Art Festival”, Beijing, China (2009), “Guangzhou Live 5”, Guangzhou, China (2014), “Jamaican Pulse: Art and Politics from Jamaica and the Diaspora”, Royal West Academy of England, Bristol, U.K. (2016), a special project commission at “Jamaica Biennial”, The National Gallery of Jamaica, Kingston, J.A. (2017), and Live Action 12 Performance Art Festival in Gothenburg, Sweden (2017). Solo exhibitions include Rush Arts Gallery (2008), New York, N.Y. and Boston Children’s Museum (2015), Boston, M.A. Her work has also been exhibited at Exit Art, New York, N.Y, Amelie A. Wallace Gallery at S.U.N.Y. Old Westbury, N.Y.,  MoCADA (Museum of Contemporary African Diasporan Arts), Brooklyn, N.Y., Grace Exhibition Space, Brooklyn, N.Y., Lehmann Maupin, New York, N.Y., and Art Museum of the Americas, Washington, D.C. Lyn-Kee-Chow’s work has garnered the following; NYFA (New York Foundation for the Arts) Fellowship Award in Interdisciplinary Art (2012), Rema Hort Mann ACE (Artist in Community Engagement) Award (2017), Franklin Furnace Fund (2017-18), and Culture Push’s Fellowship for Utopian Practice (2018). Her work has been reviewed in publications such as The New York Times, The Huffington Post, The Washington Diplomat, Daily Serving, Hyperallergic, Artinfo, The New York Art World, Super Selected, and Newsday.  She also lives and works in Queens, N.Y. https://www.jodielynkeechow.com/

SHAWN ESCARCIGA

Shawn Escarciga (Brooklyn, NY) is an “experimental” “performance” “artist” whose work is steeped in Butoh and the creation of new movement paradigms, particularly around their deep capacity to feel things and the queer body. Their work has been shown throughout New York City (Panoply Performance Lab, Glasshouse ArtLifeLab [Performeando], Queens Museum [LiveArt.us], MIX NYC, Triskelion, Grace Exhibition Space, Chinatown Soup [Performance Anxiety], The Clemente, Real Estate Fine Art), domestically (Boston, Chicago, Lexington, New Orleans, Miami, Fayetteville), and abroad (Berlin and London). They think a lot about classism, queer visibility, how to light patriarchal structures on fire effectively, intimacy amongst faggots, and what it would be like to live in a country that supports non-commercial artists which might look something like eating a 2000 calorie diet regularly and owning a Shiba. www.shawnescarciga.com/

ANYA LIFTIG

Anya Liftig’s work has been featured at TATE Modern, MOMA, CPR, Highways Performance Space, Lapsody4 Finland, Fado Toronto, 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. 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 Magazine, BOMB, The Wall Street Journal, Vogue Italia, Next Magazine, Now and Then, Stay Thirsty, New York Magazine, Gothamist, Jezebel, Hyperallergic, Bad at Sports, The 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, Yaddo, Virginia Center for the Creative Arts, Atlantic Center for the Arts, The New Museum, Mertz Gilmore Foundation, Flux Projects, University of Antioquia and Casa Tres Patios-Medellin, Colombia.  www.anyaliftig.com/

MIAO JIAXIN

Beginning in Shanghai, where his photography works expressed the universal theme of urban angst, Miao Jiaxin then immigrated to New York, expanding his view of urban streets towards a more conceptual public stage. Among his performative practices across different media, Miao has blended his naked body into the bleak streets of a midnight New York City, traveled inside a suitcase hauled by his mother through urban crowds, made live-feed erotic performances on an interactive pornographic broadcasting website, and dressed as a Chinese businessman for an entire year when working towards his MFA at School of the Art Institute of Chicago. More lately, he converted his New York studio into a jail and charged $1 per night as accommodation on Airbnb and Facebook. Miao’s works often express the ambivalent and sometimes antagonistic tension that always exists between the individual and governing or cultural authorities, questioning assumptions about power in relation to identity politics. He posits the artist’s nature as one who transgresses boundaries, challenges consensus, and stays distance from authorities. www.miaojiaxin.com/pageviewer.html

HONEY JERNQUIST

www.honeymcmoney.com

ANJA IBSCH

Anja Ibsch (Berlin), born in 1968, has been actively working as an artist and curator in the areas of performance and installation since 1993. Currently based in Berlin, she creates intense works that explore personal, cultural and social aspects of human presence while researching the endurance and tolerance levels of her body. Frequently inspired by myths of sainthood, sacrifice and release, her work emphasizes and extends connections between her body and the earth. Her varied actions have included eating dust, offering the surface of her skin as a nesting ground for worms, and melting ice on her eyes. She has performed primarily in Europe, Asia and Canada and South America.

In her work, Anja Ibsch characteristically tests her bodily limits, creating images that combine conceptual concerns with tasks of endurance or physical strength. For the audience, these images work to transform the way we view or understand the performer’s physical identity. At the same time, the works engage the performer in a changing perception of her relationship to the world around her. Ibsch creates her work in response to the circumstances that present themselves, adapting to local environments and situations. https://anja-ibsch.jimdo.com

DOMINIQUE DUROSEAU

Statement from the artist: “I create narratives. I document, cross-examine, create cultural hybridizations. I de-contextualize/re-contextualize texts, topics, and issues on Black Culture’s constant striving within today’s society. I work within the cusp of her cultures as Haitian, American, and African Diaspora, then link unresolved issues across time as a political strategy.  This takes into account the nuances of language and mannerisms, while illuminating social issues and injustice; depicting contemporary struggles against indifference, coded vernacular, and entrenched economic dispositions. The issues addressed in my works may at first seem outdated and irrelevant, but instead have actually remained persistent, and morphed. The work folds in residuals of colonial influence, women’s issues, and criticism of imperialist white-supremacist patriarchal cultures.”www.dominiqueduroseau.com/

GERALDO MERCADO

Geraldo Mercado is a Brooklyn based Performance and multimedia artist. Born in Yauco, Puerto Rico and raised in Westfield, Massachusetts; Geraldo moved to New York City in 2008 to work as the Video Production Manager at Exit Art, a pioneering Manhattan Art Space that closed its doors in 2012 after thirty years. Having complete access to their digital archives introduced him to the world of performance art. Since then, Geraldo has performed nearly non-stop.

As a performance artist Geraldo creates kinetic pieces of art using his body. A good artist uses all of the tools at their disposal, and having been born with a high tolerance for pain, he pushes his body to the limit as a means of exploring identity, empathy, and the cultivation of understanding. His aesthetic is punk rock in its ethos and in the way that he incorporates music, dance, theatricality, and storytelling while not being trained in any of those disciplines at all. Geraldo aims to tell stories with his body and reveal the underlying machinations of performance art as a medium.

Geraldo is a member of the Social Health Performance Club, a loose collective of artists creating performative works that directly confront systematic social issues. In 2013 Geraldo was one of the artists-in-residence at Animamus Art Salon: A Living Gallery London. In 2014 his non-narrative short film “The Land Scape” was a part of El Museo Del Barrio’s retrospective show “MUSEUM STARTER KIT: Open With Care”. Geraldo’s first solo show In The Universes Where I Died took place in 2015 at Gallery Sensei in Chinatown, New York in conjunction with Animamus Art Salon. His second solo show…And What Will We Do When We Get There was held at cloyingPARLOR in 2016. Geraldo holds a Bachelors of Science in Communications Media with a concentration on Directing for Film from Fitchburg State University. geraldomercado.com/

AYANA EVANS

Ayana Evans is a NYC based artist. She frequently visits her hometown of Chicago whose Midwestern reputation is a major influence on her art. Evans received her MFA in painting from the Tyler School of Art at Temple University and her BA in Visual Arts from Brown University.  She has attended the Skowhegan School of Painting & Sculpture and the Vermont Studio Center.  In 2015 she received the Jerome Foundation’s Theater and Travel & Study Grant for artistic research abroad. During Summer 2016 Evans completed her installment of the residency, “Back in Five Minutes” at El Museo Del Barrio in NYC. She completed a series this Summer 2017 “A Person of the Crowd” at the Barnes Foundation, Philadelphia, PA; as well as FAIP an international performance festival, Martinique; “Light Happenings II” presented by Lab Bodies, Baltimore, MD; and Rapid Pulse Retrospective, Chicago, IL. Evans also performed at Ghana’a Chale Wote festival in August 2017.

Evans’s on-going performances/public interventions include: “Operation Catsuit” and “I Just Came Here to Find a Husband.” She has curated and co-curated performance art shows throughout the U.S and worked in arts education for a decade. She is Editor at Large for www.cultbytes.com.  Her recent press includes articles on New York Magazine’s The Cut, Hyperallergic, the Huffington Post,  gallerygurls.net and CNN. www.ayanaevans.com/

IV CASTELLANOS AND AMANDA HUNT

Amanda Hunt is a Brooklyn based performing artist. Amanda has performed solo work at Judson Church, AUNTS, Panoply Performance Laboratory, Larkin Arts (Harrisonburg, VA), Segundo Piso (Puebla, MX), and Open Engagement at the Oakland Museum. Hunt has attended the Old Furnace Artist Residency (Harrisonburg, VA) and has worked with Kira Alker + Elke Luyten, Sam Kim, IV Castellanos, and De Facto Dance, and Kathy Westwater (2013 – present).

IV Castellanos is an abstract performance artist who has performed at the Queens Museum, Gallery Sensei, dfbrl8r (Chicago), Gruentaler9 (Berlin), and Grace Exhibition Space. Castellanos and Hunt performed their newest work 04.14-15.17, “SurForm i & ii”, as a part of Work Up at Gibney Dance Center. They have been on the curatorial committee and performed regularly at Panoply Performance Laboratory 2017 and past.

As a duo, the artists IV Castellanos and Amanda Hunt explore the continuous catching and falling of one another’s bodies, and through this idea that takes many aesthetic forms, aim to define arrival as reciprocity. This work of jumping, catching, holding, climbing, falling and/or dropping, and dragging one another on repeat, is juxtaposed with task based labor driven work. Using moulds of utilitarian objects (hammers, saw blades, deformed objects) casts from plaster, the work aims to render the execution of “simple” and “everyday” tasks, just as hammering or cutting, as possibly without goal and possibly other(ed). The artists wear work suits and work boots, both for the proposition of viewing functionality and ordinary-ness as art and as a nod to the long history of Queer folx that have worn these outfits before them. We are very Queer and non Cisgender-men which all aspects of the work, non-negotiably, exudes. Our work sets the stage for the Queer and Feminist utopia we’d like to live in and would like to invite you into. The set choreography is built on the idea that holding and being held requires different (and often metaphorically overlapping) skill sets/strengths, which is why we consciously choreograph each performer doing many types of both holding and catching. An equal distribution of labor gestured by different bodies. www.ivcastellanos.com/iv-castellanos-amanda-hunt/

RAFAEL SANCHEZ

Rafael Sanchez (b. Newark, New Jersey, 1978) is a performance artist who often takes his work to the streets and other unconventional spaces. In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance. In an early work titled Back to Africa (2000), Sanchez wandered around New Jersey in white face, carrying a suitcase and waiting for a bus that never arrived. In 2007, for Calienté/Frio, the artist traced the migration process of two women from Cuba to America during the 1960s. Sanchez has been deeply influential on performance art in the NJ/NYC metro area, from the days of Exit Art and English Kills Gallery through the days of Brooklyn International Performance Art Festival, Grace Exhibition Space, and up through the present. He lives in Newark with his wife and young daughter and works as a teacher and counselor at a local High School.

LORENE BOUBOUSHIAN

Lorene Bouboushian works within dance, experimental music/noise, and performance art. They build a rhizomatic practice through visible forays into performances and workshopping, and less visible forays into writing, dialogue, modes of care and support, and resource sharing. They utilize “self-exposure and vulnerability in real, risky ways” [CultureBot, 2011], and produce “thought-provoking commentary on social limits” [Minneapolis Star Tribune, 2016].

They have shared their work in galleries and theaters in Seattle, Madison, Athens, and Beirut, performing in festivals including New Genre Festival (Tulsa), Miami Performance International Festival, QueerNY and Queer Zagreb, Inverse Performance Art Festival, and Month of Performance Art-Berlin. They have shared their interdisciplinary teaching practice at universities in Kentucky, Beirut, and Mexico.

They have collaborated with Forced Into Femininity (as missdick vibrocis), Kaia Gilje, Lindsey Drury, Matthew D. Gantt, Valerie Kuehne, and Panoply Performance Lab, and performed for Yoshiko Chuma, Yvonne Meier, Melinda Ring, luciana achugar, Daria Fain, and Kathy Westwater. They are a former member of NYC based collectives XHOIR (organized by Colin Self), Feminist Art Group (organized by IV Castellanos), and Social Health Performance Club.

They are currently in process as a dancer with Jill Sigman/Thinkdance, working with a think-tank through 9 PROPOSITIONS (Panoply), and a member of the Civic Reflex cohort (also Panoply). https://lorenebouboushian.org/

MARIA HUPFIELD

Based in Brooklyn New York, Maria Hupfield is a member of the Anishinaabek Nation from Wasauksing First Nation, Ontario, Canada. Her first major institutional solo exhibit The One Who Keeps on Giving, is currently traveling and is a production of The Power Plant Contemporary Art Gallery, Toronto in partnership with Southern Alberta Art Gallery, Lethbridge; Galerie de l’UQAM, Montréal; Mount Saint Vincent University Art Gallery, Halifax; and Canadian Cultural Centre, Paris. She is a current Triangle Artist in Resident 2018, the first Indigenous Fellow at the International Studio and Curatorial Program, ISCP in New York 2018 and finishing a residency with Native Art Department International at DTA/FABnyc in the Lower East Side.

Together with her husband artist Jason Lujan, Hupfield co-owns Native Art Department International based out of China Town New York, a project focused on presenting artwork by artists with demonstrated ongoing commitment to Native American communities alongside and on par with international artists. Hupfield also sings with  Nishnaabekwewag Negamonid a three-member Anishinaabe women’s hand drumming group based in Brooklyn, NY committed to language and cultural revitalization, using song to disrupt colonial spaces and speak to prior, persisting Indigenous presences. The group was born as part of an Anti-Columbus Day action in the American Museum of Natural History in 2016 and 2017.

Like her late mother and settler accomplice father, Hupfield is an advocate of Anishinaabek Womanism, Indigenous Feminisms, Accomplice building and Activism.

Maria Hupfield is represented by Galerie Hugues Charbonneau, Montreal Quebec Canada. https://mariahupfield.wordpress.com/

3DWARDSHARP

ohai, i’m 3dwardsharp. can we listen/talk/dance together? like, IRL?

«…»
SELECTED SUBSTANTIVEZ:
a fucked-up scan from the back-section of a willa cather novel, um, literally, umm, as aesthetic codex that we could {un}pack, now or later or never. i mean, maybe it already happened, i looked again, and saw something else.
IF YOU ARE READING THIS: then my performance has already started. a small gesture wedged in-between.

in this performance @104 meserole i’m trying to see you more clearly but visibility is low. however, intentional, it, be.
NO PAIN, BABY, NO GAIN [let’s get physical]

http://futuredeath.agency

http://edwardsharp.com

JULIA SANTOLI

Julia Santoli is a multi-media artist based in New York. Her work synthesizes image, gesture, and sound while navigating memory and presence—how past experience manifests in the present as ruins, and how these traces transform through mediation to/from the body within the ghost-nature of sound. Her explorations take the form of vocal performance and body-generated audio feedback, sonic installation, video, and prints. She completed her BFA from the School of Visual Arts (Visual and Critical Studies), and has presented performative and visual work throughout New York. http://juliasantoli.net/

PPL (Panoply Performance Laboratory)

PPL the collective’s current configuration is lead by Esther Neff with Brian McCorkle, Kaia Gilje and many others. Working across spheres of visual arts, dance, theater, music, and cultural activism to research (e)motion and social movement, mentalities, forms of collective ideation, and modes of organization, PPL makes “operas of operations,” performance art, installation, tours, and social projects. Past and ongoing projects includingEmbarrassed of the Whole (EotW), Any Size Mirror is a Dictator (with Lindsey Drury), NATURE FETISH, and The Transformational Grammar of the Institutional Glorybowl I, II, & III have been performed at LMCC (14 Wall St.), chashama (42nd St, 37th St, Harlem site), Danspace, ISSUE Project Room, Dixon Place, Grace Exhibition Space, and ABC No Rio to name a few places in NYC, and across the USA (D.C, Boston, Pittsburgh, Chicago, Milwaukee, Kansas City, Tulsa, Toledo, Columbus, Lexington, Detroit, etc) and in Berlin, Copenhagen, London, and elsewhere. PPL has also released recordings through Gold Bolus and organized conferences, exhibitions, and events all over the world. www.panoplylab.org

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salis_performance30Embarrassed of the Whole (EotW) Phase III (click HERE for Phases I [tour] and II [usership operations]) culminated through a series of engagements, August-October 2017:

Focus Workshop at Salisbury University
Movement I performance at Salisbury University (images)
Interactive Exhibition at the Electronics Gallery (Movement II) (images)
Movement III interactive/relational performance at W.O.R.K Gallery

VIDEO OF MOVEMENT I PERFORMANCE: https://www.youtube.com/edit?o=U&video_id=a-d2fn15KcI

Thank you so much to Tara and David Gladden for hosting/curating us!

IMG_0571(image above: PPL during “Constance Vigilance/Our Social Eye(s)” at Glasshouse, June 23, 12am-12pm, photo by Brian McCorkle)

June 28: PPL as punk band “Grout Pomade” generated by Geraldo Mercado’s usership of Embarrassed of the Whole @ the new Secret Project Robot, organized by Gold Bolus Recordings: https://www.facebook.com/events/1193338950794107/

up next after that…

July 13-23, 2017 @PPL + Grace Exhibition Space,  JUST SITUATIONS: a performative convention (organized by Esther Neff, Leili Huzaibah, Kaia Gilje, and situating artists/active citizens)

Friday, July 29, 8pm PPL at Le Petit Versaille as part of Karl Cooney’s PERFORMANCE SERIES

August – October, 2017
PPL in residence at the Cage House in Chance, Maryland and solo visual exhibition at the Media Gallery at Salisbury University, performances and workshops with students and presentation of opera-of-operations at WORK Gallery

OPENCALL.jpgJUST SITUATIONS will take place across two weekends in July, 2017 in Brooklyn, New York:

Thursday-Sunday July 13th-16th
Thursday-Sunday July 20th-23rd 

Justice, it is said, must not only be done, it must be seen to be done (Homi K .Bhabha)

JUST SITUATIONS hosts artists, activists, and active citizens who are working in performative ways, moving beyond the trending commercialization of art “about” politics, instead seeking modes of performance which directly construct, position, and posit political, social, and embodied forms of human being and becoming.

Those gathered to perform this convention are ideally enabled to situate and posit some space-time-frames, modes, ethical (en)compassings, arbitrations, motivations, and social (as)semblance for situations in which justice may be done, seen, and seen being done.

We are directly constructing some situations in which, in and as small diffractive social groups, “we” imagine “we” may actually survive. This convention and forum aims (with no small feeling of embarrassment, naiveté and other emotive symptoms of outsiderness) to envision performance art, civic performance, and social art practices as theoretical and actual materializations of in-context equities, reparations, respectfully agonistic relationships, post-capitalist orders and economies, socio-ethical philosophies, self-realizations, and perhaps, liberations and so-seen justices.

JUST SITUATIONS is organized like an inventor’s exhibition or science fair. By framing everything occurring during the time-space of these eight days as just situations, or situation of justices, acts and social behaviors which are often seen as casual, common, as mere entertainment or luxury product, as dysfunctional, dangerous, foolish or impossible, as parasitic, private, and/or worthless within dominant schemas for value, are given primacy, seen as scientific breakthroughs and transformative political vehicles. Traumas are worked through instead of commodified, intersectional recognition of identities is practiced rather than merely hashtagged, constructive ideation is performed as a common, daily intra-activity, natures for human being are performatively reconfigured, dreams are staged as news, our bodies are on fire, our eyes glow in the dark.

We’ve shown you ours…if you’re interested in engagement, please make a proposal (in any form) responding to (agreement, disagreement, re-phrase, dialogue, reaction, etc) one or more of the following INQUIRIES, or propose an inquiry of your own (in any form) and e-mail to us at justsituationsconvention@gmail.com by May 15th

INQUIRIES

1. How can situations be said and seen to be “just”?
2. How are we practicing experimental metaphysics?
3. How are we practicing queer(ing), Black, indigenous/native/authorized/originating, female/femme, trans(formative), migrant/itinerant, ethically-oriented, alternative, (re)constructive, and (e)strange(d) ways of thinking/feeling/sensing/perceiving/becoming/being, are “ways” autonomous from persons in any way?
4. How are we theorizing forms of entanglement, intersection, and relationship?
5. How do we resist reductive inscriptions of/upon our bodies, enabling our actual(izing) presences to materialize in far more complex and particular ways?
6. How does performance art activate (as “activism” and as “affective influence”) actual political activities and conceptual transformations of human cultures, polities, institutions, and systems?
7. What do we mean when we say “the personal is political”?
8. Performance art is not “about” politics, it can not be “about” anything; there is no material schism between “real conditions” and “performance artifice:” all that is seen, heard, tasted, smelled, touched, emerges from embodied cognition, location, and positioned performance.
9. Because we are not universalists, essentialists, righteous fundamentalists, or objectivists, we do not suppose that our performances are inherently “true,” “right,” or “of quality to everyone,” is this the reason to distinguish modes of performance—for example “social” vs. “art” performance—? Does the sphere of “art” maintain some meaning and/or use? For example, do we add the word “art” to involve senses of intentionality, aesthetic and ethical decision-making, agency, dysfunction, radicality, and/or autonomy?
10. How do performance artists make sense? (full stop)

Here is a list of forms we are welcoming (in no way is this a complete or mutually-exclusive list):

-de-hierarchized forms of social performance
-constructive institutional critiques
-imaginary and proposed projects
-impossible projects
-participatory and interactive performances
-personalized and intra-personal performances
-environments and installations
-proposals for travelling actions, “art-form” marches, demonstrations, protests
-interventions and intervening projects
-performances of research, inquiry, investigation
-presentations of independent research and social knowledge-constructing activities
-discursive performances i.e. panels, workshops, roundtables, with performative forms
-social arts projects and “community arts” work (performed directly or performatively presented/described)
-presentations on projects happening already “elsewhere” and “outside” arts spheres and institutional spaces, “non art” projects
-magic(k), chaotic transformations and abreactive expressions
-rituals, prayers, ecstatic and generative performances
-metaphysical experiments (i.e. time travel, architecture, invention)
-performative technologies
-readings of texts and lectures
-AI and digital performances
-critical performances (framing and criticism)
-public interventions (including those in legal and governmental spheres)
-interrelative projects, daily practices, private performances, dinners, chores, etc
-travelling actions, tours, multi-site connections and corridor-formation
-domestic performance
-life=art
-art=life

Timeline:

Deadline for proposals: May 15
Dates of the convention: July 13-16 & July 20-23, 2017

Some deadline have been set in advance to make it possible for those involved to organize this thing together and in practical conjunction with jobs, travel, childcare, etc: please be advised that if you do this with us, we will need to have all public information about this project gathered and finalized by May 22 for PR and online presence. Full conference schedule will be released no later than June 1. All tech needs, requests for housing, requests for childcare, requests for formal letters of invitation etc to the initiating organizers by June 15.

Notes on money and power:

This convention is all-volunteer and there is no institutional support. Mutual support between this project and those involved is performed on a relative and situational basis. In short, there is no funding for materials, travel, or honorarium right now, but we are doing a crowd-sourcing campaign to fund travel and performers/presenters. Proposals for economic frames/structures for this project are also welcome. In addition, there will be a “default DIY” pay-what-you-can-at-the-door situation with proceeds going to the performers/presenters/participants that day.

Initiating organizers (Leili Huzaibah and Esther Neff) reserve the right to determine which proposals and persons will be formally involved with this project via an open call and invitations, based on subjective judgments and intra-personal relationships and experiences. In this case, investment and labor equals power, not an ideal situation but an intermediary one.

The online survey for EotW–through which users generated controlled experimental environments, lines of inquiry, and/or “theatrical/theoretical vehicles”–closed January 1, 2017. 64 qualified users completed the survey.

This January, we are now meeting with users who chose to become collaborating co-operators. We are also designing participatory scores for users who chose that mode of engagement, devising scores to “present” subjected users who selected the option “Present As,” and building out the PPL site to house the performative research generated via these and other online and embodied processes. The forms of research which have generated forms that might be considered “opera performance” are open to the public (at 104 Meserole Street, Brooklyn, NY):

Friday, February 3, 8pm: “Christen”
Saturday, February 4, 3pm-6pm: “Nina Isabelle” 8pm and onward: “Geraldo,”“samuel”
Sunday, February 5, 8pm: “johannagilje”
Monday, February 6, 8pm: “aliftig,” 9pm: “elizabethlamb”
Tuesday, February 7, 8pm: “diane”
Wednesday, February 8, 8pm: “Sumo”
Friday, February 10, 8pm: “huckjackhexjar”
Saturday, February 11, 6pm-onward: “LukeJM,” “Tsedaye,” “jgladstone”
Tuesday, February 14, 4pm-8pm: “lovelovelove,” 9pm: “belel”
Wednesday, February 15, 8pm: “daver,” 9:30pm: “crossoffice”
Thursday, February 16, 8pm: “Jessica”
Friday, February 17, 7pm and onward: “Valera,” “Zhen,”“Aranzazu,”“raziaisthenameofmycat”
Saturday, February 18, 4pm-6pm: “ElaineThap,” 8pm: “aevi and me”
Wednesday, February 22, 7pm: “jamieburkart,” 8pm: “BenjaminL/T-S,” 9pm: “Adrift Dismantled”
Thursday, February 23, 8:00pm: “Violistakaren,” 9pm: “IV,” 10pm: “Sierra.Elena”
Friday, February 24, 8pm: “Valerie Kuehne,” 9:30pm: “It’s Me,” 10pm: “2sad4dismrkfrshspnch,” 11pm-exhaustion: “abandonedtires”
Saturday, February 25, 7pm: “ilzost,” 8pm: “imageobject,” 9pm: “cafecafè”
Sunday, February 26, 5pm-unknown: “dahvvv”
Monday, February 27, 8pm: “lolotrashbo”
February 28, 8pm: “tinyfruit”

*Users who selected option “F” generate likelihoods and may or may not be “performed” in forms recognizable as “performance” at some point or throughout the month: “Christine O” “BluMom” “laureljay” “hollowobscenity” “cat” “linzdrury” “MatthewGGannt” “Linda” “me” “ultradella” “pmqwerty” “Cbxtn” “Queena”

We are not whole / You Complete Me / use me / this is not my system / we are not chaotic, we are chaos / we the (un)incorporated

http://www.panoplylab.org/eotw

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