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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

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

image_012017

Reframing text, as of January 1, 2017

January 1, 2015 a text was released as the first “transition document” for Panoply Performance Laboratory (PPL), the site and activities described as such. Since then, we’ve[1] decided to re-frame the art project that is the more the “space” “Panoply Performance Laboratory” approximately every 2 years. We don’t have a “core mission statement” but (as performance artists ourselves) we have a need act out a lot of (in)stating and (in)forming which locate, ground, and help us think about the work at hand (ethically, politically, practically) just as forms of work are constantly shifting.  Since we are the ones working here (anyone writing or using this text), such writing adventures have no other purpose for themselves than to be of fit form to their own at-hand purposes.

Statements written at the end of 2014 lead us to consider how we were practicing conscientiously—purposefully—in modes that we have now come to label “socio-ethical,” or “intentionally constructive.” We might also (Brecht-style) call our mode “dialectical;” decision-making procedures are performed through (agonistic) reasoning, with forms and logics for reasons (i.e. reason[s]=cause[s], both in the ideological sense and in the sense of cause-and-effect) adaptive to particular problems at hand.

Additionally, we do sometimes believe that our ways of doing things can be articulated and used to design our future ways of doing things (as with methods, tactics, techniques) based on anticipated (researched, experienced, potentially causally-or-otherwise-correlated) affects[2] and consequences.[3] We do not entirely dissolve into “becoming in situ” (impossible anyway) because we cannot deny responsibility for implications, affects, and consequences of our actions.

Simultaneous fitting of form to ideal(ology) and taking on of responsibility are working definitions for “quality/qualification,” performing alternatives to capitalist judgment and authorization schemas.

The formation of an organizational committee to deal with open call proposals, the hosting of more private/insular conversations, social gatherings, and meetings, support of durational investigation processes, and more familial (anti-institutional) forms of communication and mediation have partially continued in the various directions declared and alluded-to by the first transition document. As a laboratory site, focusing on processes of collective ideation and intentional social construction, many “shows” were replaced by projects with forms consistent with their “contents and concepts.” The need to fix plumbing, perpetual problems with the front door, troubled interpersonal dealings with a few entitled/misunderstanding artists, exhaustion, filth, fear, and poverty have remained constant.

Perhaps most generally, we have attempted—though it often feels like pulling a fly’s wing out of molasses—to move away from forms of passivity, reform any neo-liberal attempts at “sustainability,” and avoid other generally lassaiz-faire approaches to equity, quality, visibility, and “diversity” and “access.” Our language has gotten more pointed and specific, our tone more harsh, our rhetoric more “divisive” and partisan, we have become formally clearer (thanks to the work of Thomas DeFrantz, for example) about operating in pro-BIPOC (and anti-whitely) and Queer modes, attempting to correlate actions with political emergencies. On one hand, our sensibilities and aesthetics are increasingly ordered by direct resistances to particular political and economic forces, on the other hand, we keep our wounds as wide open as possible in order to practice specific ways of dealing with them.

Specificity is not the same as “getting better,” or “knowing better.” Specifically, increasing specificity is practiced by correlating located perceptions, sensations, and actions with directionality (i.e. locative contexts) and intentionality (motivating contexts). Becoming “more specific” is not a functional process that necessarily produces any “methodological knowledge” or value-point “information.” Thus, as we enter 2017, we may feel far less clear about what we’ve learned from the past two years, or nearly five years of relating to the world through the lens of life-work as/in/with/inside PPL, this thing which presumes it has some purpose (how so, specifically?) and maintains some ideological motivation (towards which anticipated/imagined consequences, specifically?).

The idea that we keep returning to is that of a “laboratory;” a site where people practice collective ideation. As a laboratory, PPL is not necessarily bending its forms around “entertainment,” or “support of artists” or “comfort” (though social safety is paramount), rather some discomfort and vulnerability is often felt as we attempt to work together, to speak together, to get things done even when we don’t agree or share experiences, and so on.

We can come together and move apart in so many different ways, so many times with, between, and through so many different “micro-communities” and it seems a certain “breathing room” between communities defined by identity is needed, as well as some spaces/sites to come together, to organize “ourselves.”

Small social groups and friendship circles and love triangles and families also come together and disappear. These dynamics must be respected and considered as deeply as “big picture” political dynamics. PPL hopes to operate both as a self-isolating site, i.e. hosting specifically-oriented[4] projects and groups (identity-delineation performed as part of personal pathways, social configurations, ideological movements, and friendship circles, see “squad goals.”[5]) as well as intentionally “intersectionalizing” and “cultural organizing” projects. We exclude, however, projects which do not consider identity contexts or think that their work or an event can possibly be “for everyone.” We also specifically exclude white artists who do not consider racial contexts, cis male artists who do not consider gender contexts, and any artists who believe that their works can “transcend” socio-political contexts. In general, we rather decry any lack of specificity, art-for-art’s sake, (i.e. art for business’ sake), or any claim to objective truth or moral right.

At the moment, we are interested in how “intentionally intersectional” practices in art worlds and community activism are being abandoned or avoided for an array of reasons: isolationism and individualism, the need for new forms of dialogue[6] related to capitalism’s demand for swift, functional productivity, increasing need of BIPOC, trans, queer, and Muslim (as well as many other “Othered”) communities (what we each mean by “community” is a very good question) to self-protect, mistrust due to ongoing cycles of white supremacist betrayal and pop-up xenophobia, new self-rightousnesses as we develop language to describe and ultimately exclude-as-dysfunctional some formative aspects of our experiences (i.e. being triggered, recognizing micro-aggressions), favoring ease of communication and cultural comfort in home and intimate social contracts due to increased suffering, trauma and threat, etc.

How and why do we “come together” or “come undone”? How do different forms of connection and divestment “benefit” different persons and groups?

Not knowing who “we” are, in any sense outside of how “they” define us, no cohesive bodily seems to have experienced anything other than rage, fear, love, a heightening of extremes and a loss of the tips of our extremities as we slide off the ends of the ropes into deeptime chaos. On the other hand, we lean in and find bodies there, persons with very different experiences, ideas, ways of seeing and feeling, we hear voices and we speak too, in a graceful and multi-faceted (#tryeverything) swan-dive into that chaos. We are, many of us, moving, pushing, motivated together in similar directions, striving for something(s) in particular. Our hands, feelingly, find other hands, and grasp.[7] We can barely see who is who and how, we can only focus on the moment at hand, the presence within and without us, the breathing around us.

Unfortunately (and perhaps most fortunately), we have not experienced an increasing “objecthood” for PPL, no clearer visibility of any one communicable form for its “structures.” We know far less than we once hoped to figure out. It seems naïve now to carry some deep faith that “progressive” culture could prevail, that humans can or should learn how to live together in the same ways as each other.

Conscientious exclusion, self-sanctioning, and self-protection have become increasingly important, relegating “transparency” and “inclusivity” to the bottom of the dirty neo-liberal barrel of earnest concerns. We are no longer in a position (even if that position was always uneasy at best) to offer ‘resources’ to artists, and so any sense of universal desirability is lost; we are becoming afraid to advertise our presence at all. Our hopes of being a laboratory site where strong cultural practitioners can perform collective inquiries have been sincerely overwhelmed by the urgency of practicing any radical presence.

The conditions of our “eco-system” have significantly changed, at least the conditions of our “theaters of the future,” or the state in which we live due to what we think will happen next.

Within the imagination that we were striving to become more like a sustainable permacultural system, the edges between spheres and locations (e.g. the partial shade on the edge between forest and meadow) seemed the most vibrant and diverse, the most resilient, and fruitful. With the fantasy of increasing complexity and holistic self-knowledge in place, we moved towards edges, curious and excited to push the boundaries, explore the distances, balance precariously without fear.

Within an extractive and coercive system such as a factory farm or fascist state, however, the edges are sterile and dangerous (e.g electric fences, chemical wash-down facilities, loading docks), where the most mechanized and violent elements of the overall system are realized. We cannot balance for long between spheres, or between normative legitimacy (e.g. white supremacy, patriarchy, etc) and absolute ant-normalizing radicalization.

We are formulating yet, and this emergence of forms is still projected by a loss of faith in actionability, but a  “larger” frame is rather intersected by many differently-shaped mirrors, each reflecting its own iterative perspective(s) and possibilities.

Further, through experience with and in “playing out” of political fantasies as radicals, suspension of (dis)belief in singular narratives, searches for “appropriate responses,” and attempts to perform well-researched conclusions, our “internal” imaginations and musings, as to the shape we would like to take, the persons we would like to present, and so on, these “dreams” or “desires” have been usurped (at least some energy from our ability to believe in them sapped) and largely replaced by “external” considerations, i.e. defensive positions responsive to conditions of rising global fascism, biotic crises, and so on.

At the moment, it seems impossibly complex to correlate our willful re-formulation of an art project with movement through and across historic spacetime. We are significantly re-contextualized and unsure if we maintain the agency to re-condition our conditions at all.

HOWEVER, perhaps it is some form of longing or attachment that reinforces our promise to situate alternate culture, synthetic culture, intersectional and microcosmic, rhizomatic, conflictual and agonistic culture. We must be stupid, because we still think it may be possible to operate anti-racistly (honestly, non-whitely), queerly, post-capitalistically, post-colonialistically, (and other word-making-up-ly as necessary) as possible…

++++we assemble and ensemble to situate a culture of collaboration but also of mutual respect in dissidence and for difference++++

+++reciprocity, social safety, nurturance, self-sanctioning, comfort in confusion and responsibility within chaos, relational attention and context-specificity, somatic and embodied theoretical practice, process-based experimentation, testing, and attempt without demand for productive or functional outcome are but a few of the “politics of aesthetics” held and carried by those who might be considered “the community” of PPL assembling at 104 Meserole Street, Brooklyn, NY+++

+++competition has no place in art-making processes or in love+++

+++socio-ethical considerations hold primacy over capitalist values/valuation schemas, this is a universality we tentatively posit+++

+++we have a right to mediate and (en)culture ourselves+++

+++our ways of seeing are sensible in their own ways+++

+++we move, reaching out, towards liberation of the bodies and bodilies+++

CALLS for projects in 2017
Proposals should be in PDF form: please e-mail one single PDF containing links, tech needs, amount of time/duration for project, and some response to one or more paragraphs from the CALL CLUSTERS below to: panoplylab@gmail.com.

Deadlines for these calls are:
March 1, 2017 (notification by March 20 for April 10-July 31 use of the lab)
July 1, 2017 (notification by July 20 for September 1-December 15 use of the lab)
Experiments, other research-forms, workshops, theatrical and movement-driven performances, staged happenings, artificial environments (installations) and other types of fabricated situations, music, sound, noise, performance art/live art, social arts practices, collaborations, public debates, exhibitions, and many other types, modes, and forms of lab use are possible. Because this is a homespace, excessive rehearsals or extremely durational projects are difficult to handle. If you are wondering if PPL is a good fit with what you have in mind, want to discuss your ideas with us in person, or have any easier-to-answer logistic questions, please feel free to e-mail us.

CALL CLUSTER ONE: A synonym of “laboratory” is “imaginarium.”

1.) We do not reject or ignore our “concrete” (i.e. communicable, partially objectified, symbolized, practiced) ideology, our values, hypotheses, ethics, and/or any faith and/or hope we may maintain, as these are what give us agency and distinguish 1.) intentional construction of realities in attempts to see these “realized” from 2.) conditioned constructivity of realities, within righteous, coercive, and extractive attempts to totally “know” “The Real.” We must not fall into nihilism or righteousness, as the question how is “real?” would be thereby removed from our purview.  Laboratory situations aren’t fruitful for anyone who claims to totally know already, without a doubt, anything. We ask, how do you make appear(ances)? How are constructivities? What do you decide to materialize/situate/recognize, and why?

2.) Situations are materialized/realized not just via arrangement of “concrete” material elements and sentiences in spacetime. They are also cognitively, emotionally, and energetically situated via embodied performative processes of making matter. Some persons seek to perform presently and consciouslessly within such processes, while others practice states of conduit, transference, possession, séance, transformation, and transfixion.

3.) It would be a lie to imagine that any situation is totally “natural” (organic, open, preconditional) or totally “artificial” (built, intentional, constructed, conditioned). Rather, mediation(s), selections, exclusions/inclusions, and other formulating and situating processes are practiced, again, in multiplicit ways. How so? And why in such ways?

4.) It would be a lie also to imagine that once something is revealed it is never concealed (problematic: universal sight vs. mediation patterns) that our revelations are inherently transformative (problematic: the personal vs. the political), or that it is not possible to plan and design a positively-imagined future (problematic: dystopian vs. utopian imaginations).

5.) Theatrical and envisioning performance modes are crucial due to their distinguishing abilities and by their considerate blending of fact and fiction, fabrication and construction of reality, artificial intelligences and analytic(s) forms; live performances are inherently dealing with—at the very least—what is “a performance” and what is general performativity. The former—at the very least—has, does, or will informboth some “imaginative” and some “recognitive” capabilities.

CALL CLUSTER TWO: who is a person? How is “human?” How is “citizen?” Who is present, and how?

1.) It would be a lie to imagine that there is no “we” here making such statements; no matter how dangerous we find any universalizing statement; persons organize projects and persons hold, carry, and practice some familiar ways of seeing and doing.  For those of us who have lived most of our adult lives within and as part of such places (like PPL), each fire, each shut-down, each raid and mass shooting re-opens old wounds like scurvy. Without some legit Vitamin C, we can never heal.  AIDS, heroin and crack, suicide, mass incarceration, the military (and its promises to provide jobs, citizenship and education to extremely vulnerable persons as well as US imperialism and warfare), police brutality, hate crimes, and the raw horrors of urban and rural poverty have divided and ended any sense of “us” perhaps “as artists” or as “the undercommons” or as any cohesive “precariat” perhaps, that might rise up en masse against “the system’s” orders and disorders. They have broken us up and down. All that is left are persons. How are we critical of ourselves? How do our selves engage, resist, maintain resilience, connect and detach, empathize and judge?

2.) The simultaneous demand that humanity operate as cells of competitive individuals and the prevention of embodied impersonages from materializing “their own” realities is intimately related with capitalist totalitarianisms. Most simply, we are experiencing a twofold and interrelated divorce of persons from their agency/agencies:

2a.) the first is divestment from cultural groups, which can be (both) positive (i.e. whites divesting from whiteness) when practiced intentionally and extremely violent (i.e. total appropriation of “Blackness” as an identity-product owned and marketing by white capitalism) when systemically enforced. Agency is key here, understood positively perhaps as distanciation and self-reflection, while lack of agency in separation from cultural grouping (and agency to culturally-ensemble) divides and conquers groups like “the uneducated,” “women,” “intellectuals” and so on, which might be able to exert power in formation. How are we our own? Or not?

2b.) The second divorce of persons from their agency and agencies is a separation of sensation and perception from our object-natures, functions, and value as component parts of systems totally engineered by extractive and coercive forces of post-consensual capitalism. In other words: we are only seen to be “worth” our consumption, our products/as products, our labor, our attention, as these fuel some “grand system” (in)corporate destruction of our lives and of our planet. Nothing (no transportation or food system, no education system, no legal or governance system) is oriented around pleasure and suffering of living human beings, except for art (in its dangling aesthetics of politics). How are we something other than what we produce/consume?

3.) Collaborative, relational, and participatory performance modes are practicing through these complex problematics. While some artists remain stuck in testing their own agency (How far will my voice travel? How can I become famous and rich?) many others are (often very critically) investigating cultural formation and how are human ways of being? How shall I/we be humane? To be “humanist” and to be “human” is ever-becomingly complex.

CALL CLUSTER THREE: grand narratives

We claim that we continue to inquire against and as metabolic particles within “the system,” to know and be aware of its many modes of operation, its values, its supremacies, its biases, its tendancies, and its vulnerabilities to our attack.  By framing “it” as a singular, identifiable “it,” we also reinforce it as such. We perform the same processes of belonging (us) and exclusion (them) which allow “it” to emerge from our bodilies into something with a mind of its own, an autonomous, analytic/machine-generated reality in which total dystopia seems inevitable.

What drama, the surgical death-machine against bloody living nature, with humankind caught between, both operator(s) and organism upon which the machine operates.

We keep on re-telling and re-describing in such ways. This too, reproduces the reality in which this “paradigm” or “it system” (capitalism, the anthropic death-drive of the knowledge-constructing ape, white supremacy and ur-fascism, kyriarchy, extractivism, whatever you want to call it) exists.

The “best” performance artists, we declare, are those who materialize alternate narratives and senses of sense, anti-normalizing this “david and goliath” garbage, this “master and slave” garbage, this “wealth=value” garbage.

We have learned, to our horror, that when the stakes go up, the complexity gets reduced. Objects of fact are as fragile and useless as Faberge eggs, easily forged, easily sold. This is indeed one of many “banalities of evil.”
1.) from “within” or “without”? Incorporate of antibodies or divestment from the bodilies?
2.) how is “the big picture” related to our daily habitus?
3.) How do we narrativise, interpret, frame, and project our visions of what is happening now and, deontically, what we would like to/should do?


[1] This text will vacillate between different “we” and “I” perspectives. One “we” is multiply-identified Esther, the writer of this text, and Brian McCorkle, the editor of it, respectively. A more problemative “we” is the collective and various residents and artists using the space and participating directly to its existence. “We” is always a fraught perspective, we try to acknowledge the extreme subjectivity of any written statement (duh, someone has to be writing it) without claiming ownership of community-generated ideation. Any “I” is Esther, owning up to selfhood.
[2] see Affaction Research Center
[3] see Emily Gastineau and Billy Mulaney (Fire Drill), Consequences have consequences
[4] i.e. work dealing directly with personal experience in relationship with systemic racism, xenophobia, transphobia, misogyny, etc.
[5] see the work of Ayana Evans
[6] see the work of Dominique DuRoseau

Friday, 1/6, 8p: individual performances at Panoply Performance Laboratory in Brooklyn.
Saturday, 1/7, 8p: collaborative performances (by car) at Palanzos Beer in Pittsburgh.
Sunday 1/8, 6p: Join us at 6p for an open discussion on the politics of touring in a post-fossil fuel/post-trump America. 8p: Individual performances at Palanzos Beer in Pittsburgh.

Ten artists, five per car. Small bundles of supplies and some instruments. What did you forget to bring that you can retrieve where you are now? Vehicles, metaphors, motives, motion, bodies inside bodies. How long does the trip take when you’re hungry? Taco Bell or Pizza Hut? From where to where? How long does the trip take? Until, I mean, wait, how long does the trip take when you swallow until you can’t? Have you been here before? Have you gone the distance? This is the middle of the road. This is the lane. Try not to break down in the tunnel. Bridge between something and something. This is my house. No spitting in the car.

A 3 day performance event between brooklyn, pittsburgh, and many a flying J and rest area en route, featuring:

Jill Flanagan (Forced into Femininity) : Isn’t it just like a woman to be mischevious, impetuos and impulsive, to want the freedom to what she likes? And isn’t it like a woman to be mysterious, impenetrable, to have depths in which we plunge in vain in search of some lost part of ourselves? Jill Flanagan thinks so, and she’s here to spread her twisted hysterical ideology with a little soft shoe routine and some jazz standards.
http://www.decoherencerecords.com/progress.html

Valerie Kuehne : accross the country, dopamine filling stations are popping up like deerticks. Watch your childhood melt in front of your eyes and change your perception in the warmth of a truck stop bathroom. There is no way to prepare yourself for what is happening right now.
http://www.valeriekuehne.com/

Brian McCorkle is the co-director of Panoply Performance Laboratory (PPL) with Esther Neff. Originally from Detroit, McCorkle is a multi-instrumentalist, composer, digitial artist, and maker of damn fine broths and sauces. His solo work has involved aluminum foil, vasaline, analog devices, and bird cages. He is the proud parent and primary mechanic of one of this project’s vehicles. http://panoplylab.org/brianmccorkle/

David Ian Bellows/Griess is a sculptor, video maker, sporadic disseminator, retired performance art/shadowy denizen.
https://youtu.be/rmZqpjgm_xk

Esther Neff is the co-director of Panoply Performance Laboratory (PPL) with Brian McCorkle. She likes tubes and theory and clay. She hails from a celery bog and often accidentally breaks the small bones of her extremeties while performing some inquiries into natures for natures which appear temporarily like mold on the walls of the shower. http://estherneff.tumblr.com/,www.panoplylab.org/estherneff

Kaia Gilje is a defender of the most vulnerable patterns, roughly handling and tenderly padding when futures abruptly end in a growl. She has made nests, looms, arrangements, decisions, and actions in many different locations.

Adriana Disman is a performance art maker, thinker, and curator based in Toronto and Montreal. www.adrianadisman.com

Ali Asgar is a visual and performance artist from Bangladesh. Ali is working as a freelance artist for last few years in Bangladesh and moving forward with his work concentrated on the issue of gender minority and queer identity. Through his performances and other visual narratives Ali is constantly trying to pushing the gender norms of the country and making spaces to talk about this issues in a public forum. http://aliasgarart.com/

Spitline is a multidisciplinary performance art duo that creates experiences that fully immerse audiences in real life scenarios.
https://www.facebook.com/ssspitline/

Thousandzz of Beez :
https://thousandsofbeez.bandcamp.com/

A 5-15$ donation will be collected at each event for the participating artists.

http://www.panoplylab.org/
http://www.thesupercoda.com/