Rae Goodwin: 'calling ancestry' Artpotheek, Brussels, 2014. Photo by Eva Campos Suarez

IMAGE: Rae Goodwin: ‘calling ancestry’ Artpotheek, Brussels, 2014. Photo by Eva Campos Suarez. DON’T MISS RAE’S PERFORMANCE ON VALENTINE’S DAY, along with performances by Nabeela Vega, Tif Robinette, Sylva Dean and Me, and Claribel Jolie Pichardo

January marks the 5-year anniversary of PERFORMANCY FORUM, a platform for performance art and interdisciplinary practices!

Bad weather (or human fear of it, at least) has foiled some of PPL’s January 2015 operations, but this February we have an intense number of public situations going on! Click HERE to see the schedule, join our mailing list HERE, or “Like” the space’s Facebook Page to get invited there and stay updated on events coming up!

We also have a framing text and report to share HERE
and some revised guidelines for proposals and space usage HERE (and posted below)


PPL invites projects that constructively consider situation, context, and consequences of performative socialization and enculturation. The site will be adapted to each project, aiming for explicit realization of social forms.

PROPOSALS can use this ONLINE WORKSHEET, or be emailed in other forms to: on a rolling basis.


A framing of performance and social practices as “art” implicates us in markets, histories, criticisms and theoretics, individualist and institutional hierarchies, valuation and evaluation schemas, competition-based cultural systemics, expectations for rituality and metaphysical experience, etc. This call is open to “artists,” who navigate lives as “artists” and create “art” within and/or across defined artistic disciplines, as such, problemetizing and considering art-paradigms.

Proposals can be for individual performance processes/performances relating to one of the following forms-of-exhibition (ongoing), OR proposals can frame an entire exhibition with multiple artists, taking on a form that “curatorially” relates involved artistic processes and performance(s) of any length or design.

PERFORMANCY FORUM. A semi-monthly platform since 2009 for auto-criticality of show-forms and performance-as-art practices. Each exhibition involves interdisciplinary performance(s), and some form of public dialogue, usually focusing around an aesthetic, politic, personal, social issue or conceptual area. PERFORMANCY FORUM often involves exchanges between Brooklyn artists and artist collectives and groups from elsewhere in the world. Longer-form exhibitions, as well as conferences and festivals are also organized as part of PERFORMANCY FORUM, by Esther Neff and collaborators. Proposals can be for individual performances/processes and/or conceptual frameworks for an installment of the series. email:

SuperCoda (curated by Valerie Kuehne) is accepting submissions for Trauma Salon, an ongoing attempt to define the nature of Trauma as a Performative Phenomenon. Submissions should both consider Trauma as you understand it (have been exposed to, seen/felt) and how and why that understanding might change if Trauma becomes the focus of a performance/experiment. This call is open to all disciplines. The following questions are to be addressed in your submission:
1. How does Art change you? Radically speaking, how does one lose oneself (as audience/performer) in witnessing/engaging in a performance and become someone completely different? Under what conditions do you think this internal shift might transpire.
2. Why is Performance necessary/urgent? How can this necessity be internalized and expressed? Why should it be? How can this necessity be used as a tool for perpetuating/embedding Performance as a social practice (or collective spirituality, modern catharsis, insert at will). In essence, why must we, as performers (as well as human beings) do what we do?
3. Why the the hell do you make art/performance/music? What is important in what you do? Why continue doing so?
Your proposal may suggest a means to inflict Trauma in performance. You may attempt to physically disclose and permanently lose/change yourself. You may find a way to be traumatized by the audience (or simply sign up for this). You may simply perform as a means to uncover the essence of Trauma as performatively expressed. You may make an enormous noise. You may tell us what you are truly afraid of. You may injure yourself. You may terrify everyone and no one. You may grow a second head. –curator Valerie Kuehne

Trauma Salon will take place on the last Thursday of the Month, January – April. Visit thesupercoda! email:

Post-dance 4X4: To be “post” is to come after, proposing some reflection, perhaps, or some meta-physicality. Works-in-progress are shown as public experiments, situations emerge from dance and movement theory, history, and current dance/movement practices; the construction of a “post-dance community” is embodied, as participatory social choreogaphy. This series also welcomes curators and co-curators, all participants are paid from donations at the door, artists tend to “gather” over time and events emerge from need to operate as dance. The term “post-dance” was coined by Lindsey Drury for BIPAF, at PPL the series has been curated and co-curated by Lorene Bouboushian, Li Cata, Kaia Gilje, Paige Fredlund, and Esther Neff.

Post-drama 4X4: text-based performance forms, dramaturgy and anthropology-located and theatrical forms emerging from “the theater” are removed from theater, challenging theater’s metaphorical and allegorical (historic) relationships with “society.” There is no stage or backstage, all elements of the situation and production values are operated by and as part of the “play.” Durational, participatory, aleatoric, improvisational, environmental, site-specific, and other “post-dramatic” forms are investigated, theater is framed as theoretics. Propose a form of play, a theater-work in-process; forms involving speech, sound, and music especially welcome.

No Wave Performance Task Force: queer and feminist public performance, sculpture, activist, and movement practices, from the concept of a “task force” formed over time through meetings and exhibitions. NWPTF can be initiated by any, and should take task-based form(s). Visit NWPTF website HERE for more information.

OTHER: many many other forms and modes are welcome. PPL has hosted platforms and curatorial projects by many others, including performance art exhibitions, potlucks, video and visual arts exhibitions by independent curators, public meetings and gatherings, research and social arts practices, workshops and lectures, etc. It is impossible for us to totally predict all and any operations for the space: anything “outside” any of these areas is perhaps of even more interest.

megabus03Megabus Social Research Artists Retreat will take place January 24-25, 2015 on the Megabus from Boston to Brooklyn and back again, and in Brooklyn at Panoply Performance Laboratory.

TO APPLY: Send an abstract, diagram, proposal, or other document representing your social research performance as a proposal and to be shared at PPL during the retreat by a deadline ****December 20, 2015**** to with the subject line MEGABUS RETREAT

Priority will be given to proposal that “make use” of the Megabus trip. 

Artists receive:
–1 roundtrip megabus ticket between Boston to NYC
–A yoga-mat slumber-party-style place to stay (optional)
–A public laboratory session with peer participants available for your social research in any form

Artists must provide:
–An abstract, diagram, or other document representing their current social research as a proposal and to be shared at PPL during the retreat
–A structure for a minimum of 30 minutes of laboratory time (“performance”) between 7pm and midnight on Saturday, January 24


Departing Bus:
Date: January 24, 2015
From: Boston, MA, South Station – Gate 25 (12:00 PM)
To: New York, NY, 7th Ave & 28th St. (4:55 PM)

Arrive at PPL (104 Meserole Street, Brooklyn, NY, 11206)
Seven laboratory sessions, 8pm-midnight

Returning Bus:
Date: January 26, 2015
From: New York, NY, 34th St b/t 11th Ave and 12th Ave (12:30 AM)
To: Boston, MA, South Station – Gate 13 (4:45 AM)

Finally, Any Size Mirror is a Dictator, has completed processes and performances at Momenta Art. Thank you and goodnight from Jessica Bathurst, Lorene Bouboushian, Lindsey Drury, Paige Fredlund, Matthew Gantt, Kaia Gilje, Rene Kladzyk, Thea Little, Brian McCorkle, Sarah McSherry, Butch Merigoni, Esther Neff, Ellen O’Meara, and Matthew Stephen Smith!

THANK YOU to Kikuko Tanaka and Eric Heist at Momenta for providing us a home for a seven-week exhibition!

THANK YOU to Robert Zott and David Ian Griess, who documented the work so thoroughly in still images and video, and to Hrag Vartanian for live-tweeting, and everyone else who “crowd-documented” the sprawling work. See posts with images below and on Robert Zott’s Facebook, and find Griess’ videos HERE.

THANK YOU to the guest artists: David Grollman, Flyn van Hemmen, Cory Bracken, Brian Questa, Jason Anastasoff, Sean Ali, Valerie Kuehne, David Ian Griess, Ryan Krause, Colin Self, Jen Baker, Dave Ruder, Erin Rogers, and the many others who threw themselves into the fray.

THANK YOU to those who wrote responses and conducted interviews:
HERE is an article on Hyperallergic by Jay Barnacle
HERE is an essay on Lepidopterism by Baxton Alexander
HERE are thoughts by Dave Ruder on you coo coo you coo coo too
HERE is an interview with choreographer Lindsey Drury in the Huffington Post
HERE is a review in Posture by Li Cata

And, of course, thank you again to those who donated to the Hatchfund campaign to make this project possible. If you are still waiting for your book, it should be in the mail!



Photos below by Esther Neff

Photos by Robert Zott

The processual dance-opera Any Size Mirror is a Dictator continues, with guest artist David Ian Griess (also check out his videography of the project HERE and more images/art he made HERE). Photos by PPL.

Images from the second week of dance-opera-installation ‘Any Size Mirror is a Dictator’ as it evolves. Photos by Robert Zott.

ASMIAD_PRIMARYPRESSPPL has been processing the processes of a dance-opera called Any Size Mirror is a Dictator in collaboration with Lindsey Drury and a shifting collaborative comprising Jessica Bathurst, Lorene Bouboushian, Lindsey Drury, Paige Fredlund, Matthew Gantt, Kaia Gilje, Rene Kladzyk, Thea Little, Brian McCorkle, Sarah McSherry, Butch Merigoni, Esther Neff, Ellen O’Meara, and Matthew Stephen Smith for years. We are now but one week from the opening party for a 7-weekend exhibition of the work at Momenta Art and our guts are all in a tangle with total excitement! Please join us:

Opening Party: Friday, September 5, 6pm
Momenta Art
56 Bogart Street, 1st floor
Brooklyn, NY, 11206
(L to Morgan Ave, right across the street from the Bogart St. station)

–Friday Sept 5th: Opening Party, 6pm, dictator scores, and roundtable discussion.
–Saturday Sept 6th: 6pm: Lectures by Michael Newton and Joanna Spitzner on “acceptable objectives for art” and dance-opera performance
–Sunday Sept 7th: recursive lecture by Igor Rodriguez and dance-opera performance

3-9pm dance opera performance

3-9pm dance opera performance

3-9pm dance opera performance

3-9pm dance opera performance

3-9pm dance opera performance

WEEK 6 oct 16-19: AGENCY
3-9pm dance opera performance

free and open to the public at all times, come and go as you wish

Many words can be made to resemble our reasons for pursuing these practices. You can find some of them by clicking links HERE and HERE and finding press release language written to appeal within various artistic-discipline dialectics (dance, theater, music, visual arts) and perhaps you can get a sense of what this thing is. Most simply though, it is a series of durational performances (6 hours each open day) that first rehearse and assemble material (i.e. choreographic systems, music and text, objects, ideas, realizations, ideations, etc) and then perform and recurse these.  Never have we been so rigorously excited and dizzy.  Never has an opera been so bestial, burdensome, and bent on self-destruction. This is a structure about structuring, structuralism, and structures which enforce via their existence. It is all very loud and tragic, the best we can do. Fascism, colonialism, capitalism, western civilization, conceptions of self, these we process systematically, looking for flaws where agency might realize a performative (perform-able) constructivity (constructive activity). 

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