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All complex arguments about the “nature” of performance art (visual arts performance, theatre, music performance, etc) aside for the moment, here are some contexts into which you might be interested in locating your practice as a performance artist (cough).
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Flux Projects
Deadline for Submission: February 29, 2012
Notification: April 30, 2012
The one-night only event takes place in Castleberry (Atlanta) Georgia, on Saturday, October 6, from 8:00 p.m. until midnight.

“Proposed projects can focus on any form of visual art or performance, broadly conceived, including sound installations.  Projects should be appropriate to a one-night event. ”

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Very exciting, GES has released a formal call for work!

Grace Exhibition Space
Brooklyn, call for work, deadline Jan. 20, 2012

Grace Exhibition Space [GES] presents over 30 curated live performance art exhibitions each year, between February-May and September-November. Since opening in 2006, GES offers an opportunity to experience visceral and challenging works by the best of the current generation of international performance artists. Through discussions, workshops and live art, GES establishes an environment that supports exchange and collaboration among artists and audiences from diverse cultures and artistic backgrounds.

SUBMISSIONS – Deadline: January 20 for Spring, 2012
Submissions any time after will still be reviewedGUIDELINES:
Works of performance art that explores themes of the body and politics,
whether personal or social and beyond.
– CV
– Short Bio (One Paragraph, no more than 150 words)
– Short description of proposed work
– Description of past works
– Any relevant links
Images: – Up to 10 digital images no larger than 1280 pixels in any
direction and at 72 dpi. – Digital images should be named with applicant’s
full name and image # – In your email include title, medium, date, and a
brief description of the work(s) * Videos: – In your email, include the link
to your video on YouTube or Vimeo. – Also include the title, and a one
paragraph description of each video submitted.We expect you to be available to make a presentation about your work and to
teach and/or participate in a performance art-related workshop. Our schedule
is: Monday – Artist Presentations, Thursday – Artist Workshops, Friday –
Live Art Event. We can provide one week of housing, studio space and one-meal/day for
accepted artists. We are not able to provide travel funding, but will provide transportation
when you are arriving and leaving.Please send all submissions to:
info@Grace-Exhibition-Space.com
Grace Exhibition Space
Directors, Jill McDermid-Hokanson and Erik Hokanson

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April-June season deadline for Performance Works-in-Progress and other programming at Dixon Place is  January 1.

Visit http://dixonplace.org/html/submissions.php for the submission guidelines and to see all of their performance programs.

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Finally, PPL has a little call out of its own. We will be curating at Vaudeville Park as part of their resident curator program and elsewhere throughout 2012.

Thus, we are currently accepting proposals in three areas (below.)

In all three areas, appropriate work includes visual arts performance pieces, interdisciplinary performance art and theatre, experimental text for performance,  participatory and social arts practices projects,  sound art and performative and/or participatory experimental music and new opera.  We rarely consider work outside of these areas.

1.) 5-30 minute pieces/sets/actions/works to be performed as part of multiple-artist one-night events, during our monthly PERFORMANCY FORUM, or as part of conceptually-formed inter-disciplinary 1-night exhibitions. PF artists receive a cut of the door, full technical support, and are asked to engage with the “forum” aspects of this series, which vary in form in relationship with the exhibition’s conceptual framework.  Send description of pre-conceived piece, an inchoate idea for a piece, or simply introduce yourself and your work to us (as many PFs invite artists to create a new work for a specific forum) by sending description of specific work or artist statement, artist bio or CV and relevant work samples to panoplylab@gmail.com, ATTN: Esther Neff.

2.) Evening-length pieces or full-evening shows with multiple artists. If you’re doing experimental theatre, please send an artist or mission statement. Send description of work or show, list of artists and links to their websites or work samples, technical needs, proposed financial arrangement (will you charge at the door? etc) and any relevant work samples to panoplylab@gmail.com, ATTN: Esther Neff.

3.) Social Arts Practices and alternative forms of engaged performance: artist projects, seminars, panel discussions, workshops, and other process-based work.  Send description of what you intend to do and why + what you need to do it to panoplylab@gmail.com, ATTN: Esther Neff.

Looking forward to hearing from you! E-mail me with any questions!


One attends a lot of artist talks and watches a lot of documentaries about art and artists, and I’m sure I’m not the only one who’s noticed that in the telling of their “career biography” artists always skip a chunk of time.

Vermeer, dying of malnutrition


They don’t skip the very beginning, they often romanticize that first night in NYC/Paris/Berlin/Tokyo, the thin sheets, the starved wandering through the streets staring at absurdly rococo cupcakes and one’s own reflection in the windows, passing out drunk in gutters, etc, but then the next thing you know they’re talking about how they rented the Guggenheim to produce their opera or some such thing.

Fetch me a cappuccino, assistant, no I said NO cinnamon!

But what about the concrete interim, the actual time spent at the beginning of the verb “emerging”? It’s a strange time, during which one is not sure if there’s even going to BE a “next stage”; what if this is it? Can an artist or ensemble remain teetering on this sharp edge forever? (Yes actually, unfortunately I know a couple of late-in-life artists who have spent their entire lives in a liminal phase between their university degree and their second grant…)

Because I am too impatient to do nothing but make work (I guess I’m speaking to an imaginary alter ego in this post, blog tone and context is difficult…) I intend to document this period, and the process of PPL producing these multi-disciplinary opera things in this in-between time, on an alternative route (alternative to Fringe, and for-profit production) while still starving but not doing that terribly in terms of actual audience (people seeing the work is really the only thing I can justify caring about). So without further ado…

Episode One: SPACE!

Wexner, sigh


We always get some space and legitimacy first so we can set up a project timeline and start gathering collaborators. Here’s a smattering of the best places to get spaces in NYC and Brooklyn, some we have worked in, others won’t take us (YET!) or we haven’t applied (YET!):

Lower Manhattan Cultural Council (development space, much of it on Wall Street, very inspiring spaces, helpful people)
chashama (storefront space, they let you do whatever you want and don’t bother/help you, depends on your attitude about that)
HERE Arts Center Residency Program (HARP) (space, development support)
Incubator Arts Project (performance weekend at St. Mark’s Church and some development assistance)
Yaddo, the MacDowell Colony (space in a quiet place to write or make video or whatever it is you do)
The Watermill Center (space and support out on Long Island with Robert Wilson)
Sundance Theater Lab (space, workshops, peer support, cowboys)
Brooklyn Arts Exchange (space, support for theater and dance, focus on women and dance)
The Performance Project @ University Settlement (space, support)
Tribeca Performing Arts Center (space and production)
LaGuardia Performing Arts Center (space in Long Island City)
IRT (they have a residency program called 3B but it costs money, about $500 a week)
Theaterlab (same deal as IRT, $250 per performance, ulp)

Some of these are easy to get into, some are not so easy. Some residency programs are pretty focused on financial support, so if most of one’s donations are in-kind rather than monetary (or if the project budget is under $3,000), I think one is better off directly contacting spaces such as these, usually they get half or all of your box office in exchange for space. Some have submission guidelines and deadlines, others do not:

Dixon Place (performance slots, special emphasis on queer, female-artist, and provocative experimental work, awesome people, great space, nothing but love in my heart for Dixon Place)
University of the Streets
Gathering of the Tribes Gallery
ABC No Rio
Surreal Estate
The Tank
The Brick

A lot of these are performance space only, but rehearsal space is a bit easier to come by; I try to think about rehearsing in awkward spaces as a healthy creative obstruction.

Jørgen Leth in the documentary 'The Five Obstructions' made with Lars van Trier

The next step, I think, is working in spaces nationally, and then internationally. Production beyond the bare basics of making it work in a space here in the city is beyond PPL’s reach at this point, hopefully this will be the next thing to change…if the space is there, we can make something happen in it without anything but other people’s trash and our bodies (the freegan approach to production is the next installment of this)!