Archive

Tag Archives: panoply performance laboratory

Photo documentation is up:

http://panoplylab.org/quinquennial/

THANK YOU to all who performed, presented, participated, attended, witnessed, and spoke!!!!

Quinn Dukes performing durationally at Grace Exhibition Space, Day 2

Quinn Dukes performing durationally at Grace Exhibition Space, Day 2

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)

GENERAL OPEN CALL for PROJECTS

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: panoplylab@gmail.com on a rolling basis.

 **********+++++++**********

OPEN CALL for ARTISTS AND ARTIST-CURATORS
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: esthermneff@gmail.com

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: valeriekuehne@gmail.com

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 panoplylab@gmail.com 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)
–dinner
–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

Schedule:

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)

PRACTING_petrichorbannerPetrichor Performance Collective and Panoply Performance Laboratory present an exchange of ideas and performative works in Brooklyn and Boston entitled Practice, Practicing, and the Perpetual Becoming of Performance

Friday, November 7 
Roundtable Discussion: 6pm
Performances: 7pm-11pm

Saturday, November 8
Performances: 7pm-11pm

@
PPL Space
104 Meserole Street
Brooklyn, NY, 11206

(L to Montrose, G to Broadway, M to Lorimer)
FREE (suggested donation $5-15 for the artists’ travel)

Participating Artists from Petrichor:
Danielle Abrams, Leah Rafaela Ceriello, Dell M. Hamilton, Tiara Jenkins, Ryan McMahon, Helina Metaferia, Cris Schayer, Bryana Siobhan, Kledia Spiro, Nathaniel Wyrick

Byana_petrichor(Photo above: Bryana Siobhán, azul negro, at Piano Craft Guild)

The following weekend, PPL will complete the exchange in Boston at the School for the Museum of Fine Arts:

Friday, November 15
Roundtable Discussion: 6pm
Performances: 7pm-11pm

Saturday, November 16
Performances: 7-11pm
@
School of the Museum of Fine Arts, Boston
230 The Fenway
Boston, Massachusetts 02115

Participating Artists Include: Chloe Bass, Ayana Evans, Anya Liftig, Kikuko Tanaka, Zhenesse Heineman, Future Death Toll (Edward Sharp and David Griess), Esther Neff and Brian McCorkle (PPL), Glasshouse Project (Lital Dotan and Eyal Perry), Ivy Castellanos, and Wild Torus (Amy Mathis and Mike Voztok).

s2590047(Photo above: Kikuko Tanaka, Poultry Paradise and its Discontents (2013), PPL Space, Photo by Hiroshi Shafer)


ABOUT THE EXCHANGE:

How does an artist design and practice a practice? More importantly, how does an artist practice within constantly fluctuating ways of learning? This performance exchange is meant to address questions of process and pedagogy and to interrogate collectivity and community as a part of the practices of artists operating in Boston, New York City, and beyond.

Performance art, termed as such, has experienced a major shift between 2006 and 2014 “inside” and “outside” art worlds. The “professional” artists from the NYC area and student artists alike will ask critical questions of themselves and each other to determine how the MFA program, the collective, the artspace, the panel discussion, and other forms of social learning, are integrated within performance art practices today. The artists will question pedagogy, community, collectivity, and how our organizational and pedagogical practices operate in conflux with our performance work. Group discussions in each location with be focused around making a practice and will be allowed to digress in any of these directions.  This exchange is curated/organized by Helina Metaferia and Esther Neff, respective members of Petrichor and Panoply.


 danielleabrams(Photo above: Danielle Abrams, video still: Quadroon)

About Petrichor Performance Collective:
Petrichor is a performing arts collective operating and performing in Boston, MA, founded by MFA students, alumni, and friends of School of Museum of Fine Arts, Boston. Facebook: PetrichorPerformanceCollective

About Panoply Performance Laboratory (PPL) is a duo of performance artists, a collective involving anyone who participates in any PPL operations, and an investigative project space in Brooklyn, NY that hosts performance and social projects. PPL has initiated Brooklyn International Performance Art Festival, conferences-as-mass performances, and organized PERFORMANCY FORUM (a critical platform for performance-as-theory) since 2009. www.panoplylab.org

kerwinppl(PPL Space, a project of the Panoply Performance Laboratory (Esther Neff and Brian McCorkle). Photo by Kerwin Williamson)


BIOS of BOSTON-BASED ARTISTS, MEMBERS OF PETRICHOR

Helina Metaferia is an interdisciplinary visual artist working in two dimensional, three dimensional, and time-based mediums. Born in Washington, DC to Ethiopian parents, Helina’s work is rooted in diaspora, migration and gender studies through an exploration of the body. Her work has been exhibited at Galeria Labirynt (Lublin, Poland), Emerson College Gallery (Boston, MA), International Visions Gallery (Washington, DC), Casa Frela Gallery (New York, NY), Williams College Gallery (Williamstown, MA), and more. She recently performed at the Guggenheim Museum with Afro-Cuban artist Maria Magdalena Campos-Pons in honor of the Carrie Mae Weems retrospective exhibition. www.helinametaferia.com

Leah Rafaela Ceriello: b. 1989. New Hampshire USA. What has come before you? what will remain after you’re gone http://www.leahrafaela.com/

Tiara Jenkins is a Boston based performance artist. She was raised in Pittsburg, Missouri on a 40 acre farm. Since moving to Boston three years ago, she has been considering processes of acculturation and questioning how an individual’s life dreams and goals are formed, crushed, and reformed.

Kledia Spiro is an interdisciplinary artist experimenting with intense physical actions and understanding the internal dialogue and struggle that occur before, during, and after the action.  Kledia was born in Albania and is part of an Olympic Weightlifting team. She uses weightlifting as a symbol of empowerment and pain. Weightlifting becomes a vehicle for discussing women’s role in society, immigration and times of war.

Nathaniel Wyrick is a multidisciplinary artist born in East Tennessee and currently living and working in Boston. Working through performance, printmaking, photography, and installation he explores the fragility and imperfection of memory as it relates to personal history, identity, masculinity, and sexuality. www.nathanielwyrick.com

Cris Schayer, New Orleans artist currently based in Boston. Examining the perception of memory, language, and identities, she works with the ephemerality of time based durational performances yielding residual objects. The residue becomes a compulsive attempt to solidify the intangible. www.crisschayer.com

Dell M. Hamilton is an artist, writer, activist and curator based in Boston. Born in Spanish Harlem and spending her formative years in the Bronx borough of New York, she was raised in a bilingual as well as a multi-racial Honduran family. Her work is grounded in the interdisciplinary contexts of the African Diaspora and she has most recently performed with Afro-Cuban artist, Maria Magdalena Campos-Pons as part of MacArthur Genius Award winner Carrie Mae Weems’s retrospective show at the Solomon R. Guggenheim Museum in New York. Dell’s work has been shown to a wide variety of audiences at the Museum of Fine Arts (Boston), Paragraph Gallery (St. Louis), Spoke Gallery/Medicine Wheel Productions (Boston), NK Gallery (Boston), Mobius (Boston), OKW Gallery (Boston), the Fort Port Artist Building (Boston), Atlantic Works (Boston), the Joan Resnikoff Gallery/Roxbury Community College (Boston), the Massachusetts State House (Boston) and at Perfolink: Maestros y Discipulos in Concepción, Chile. www.dellmhamilton.com

Emerging artist Bryana Siobhan is currently a Masters Candidate at the School of the Museum of Fine art of Boston, and an Alumni of the Corcoran College of Art + Design with her Bachelors in Fine Art.  She has been living and working in Boston, MA for the past years as a performance artist, founder ofrevolutionaryperformance.tumblr.com (a performance art archive), as a founding member of Petrichor Performance Collective and member of Que Lastima! Working in the topic of US-centric social politics regarding race, gender, and mental health, and spirituality, Siobhan draws cultural cues and signifiers from the Black American, Afro-Cuban and Indigenous American (NDN) cultures. bryanasiobhan.comrevolutionaryperformance.tumblr.com

Danielle Abrams has performed for over 20 years as personae that emerge from her interracial family, and from a lexicon of figures in art history and popular culture. Her performances upend the limits of stereotype and representation.  As each of Abrams’ characters transfigure into new ones, prejudicial assumptions are traded in for complex and candid dialogues. Danielle Abrams has performed and exhibited work at galleries, festivals, and museums in New York including the Queens Museum, Bronx Museum of Art, The Jewish Museum, Roger Smith Hotel, WOW Performance Café, The Kitchen, Rush Arts Gallery, ABC No Rio, and Dixon Place.  She has also exhibited work nationally and internationally at Detroit Institute of the Arts, the Queer Arts Festival, Labotanica at Project Row Houses, Annie Sprinkle’s and Beth Stephens’ Green Wedding, Art Gallery of Windsor, and The Geborgen Kamers Gallery in the Netherlands. She teaches Performance at The School of Museum of Fine Arts in Boston. www.danielleabrams.com

Ryan C. McMahon: “I was injured and hospitalized during the Boston Marathon Explosions with a major back injury and two broken wrists. “You’re Ok” explores my recovery and the healing process. I have been researching how other artists like Harun Farocki, Hito Steyerl, Stanya Kahn, Jon Rafman, Hannah Wilke and Liza Johnson uncover the effects of war, trauma and violent events. I’m also very interested in how groups, communities and cities grieve and heal collectively. Using texts from Trauma Studies I am exploring and documenting the impacts of psychological and physical trauma on an individual (myself), my family, my immediate community, and on the city as a whole while also looking at the contrasting methods that the mass media has used to process the event. The body’s healing time vs. media time.” http://www.ryancmcphoto.com/

BIOS of NEW YORK CITY-BASED ARTISTS, CURATED BY PPL

Chloë Bass Rehearsal for Regular Social Behavior” Chloë Bass is a conceptual artist working in performance, situation, publication, and installation. Chloë has received commissions from LUMEN, the Culture Project’s Women Center Stage Festival, the Bushwick Starr’s Bushwhack Festival, and 3rd Ward’s Moviehouse. She has received residencies from the Bemis Center (Omaha, Nebraska), POGON (Zagreb, Croatia), D21 Kunstraum/5533 art space (Leipzig, Germany and Istanbul, Turkey), and Eyebeam (New York). Recent work has been seen at the Neuberger Museum, Momenta Art, Künstlerhaus Stuttgart, Flux Factory, Kunstkammer AZB (Zürich), Akademie Schloss Solitude, Exit Art, Contemporary Art Institute of Detroit, ITINERANT Performance Festival, Glasshouse, Panoply Performance Laboratory, and Agape Enterprise, among others. Selected profiles of her work have appeared in BOMB, Entorno, ArtInfo, Art Observed, and Hyperallergic. She is a the recipient of the 2014 Create Change Residency from the Laundromat Project, the 2013 Fellowship for Utopian Practice from Culture Push and is a 2011 & 2012 Rema Hort Mann Foundation Individual Artist Grant Nominee. From 2007 – 2011, Chloë served as the co-lead organizer for Arts in Bushwick, which produces Bushwick Open Studios, BETA Spaces, and Armory Arts Week performance festival SITE Fest, which she founded. She has guest lectured at Parsons School of Design, Sotheby’s Institute, the Polytechnic University of Puerto Rico, and Brooklyn College CUNY. She holds a BA in Theater Studies from Yale University, and an MFA in Performance and Interactive Media Arts (PIMA) from Brooklyn College. chloebass.com

Ayana M. Evans currently resides in New York, home base for her work as a performance artist and accessories designer. She frequently visits her hometown of Chicago, a city whose “all-American” and sometimes controversial reputation has been a major influence on her art making practices, either as ideals she challenges or as nostalgia for histories she cannot re-create.  Her own family’s roots in the South and her identity as an African American woman add another significant layer to her performance works, which are often presented as critical or banal queries that involve her body. Evans received her MFA in painting from Tyler School of Art at Temple University and her BA in Visual Arts from Brown University.  She has also attended the Skowhegan School of Painting and Sculpture as well as the Vermont Studio Center.  Recent exhibits include: “Time Distortion and the Body” at Panoply Performance Laboratory, Brooklyn, “A Box in the World,” sponsored by Local Projects, Queens, “All that Glitters,” at The Gateway Project, Newark, “Operation Catsuit” video, screened at Panoply Performance Laboratory, Brooklyn, and “Everything Is Up For Grabs,” performance art piece choreographed by Whitney Hunter and shown at Judson Church, New York.  Evans’ accessories line, Yana handbags, was launched in 2007 and has been featured in EssenceNylonMarie Claire, TimeOut NY and the L.A. Timesayanaevans.com

Anya Liftig’s work has been featured at TATE Modern, MOMA, The New Museum, Trouw Amsterdam (collab with Stedelijk Museum, CPR, Highways Performance Space, Lapsody4 Finland, Fado Toronto, 7a11d International Performance Festival, 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 around the globe. 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 MagazineBOMBThe Wall Street JournalVogue ItaliaNext MagazineNow and ThenStay ThirstyNew York MagazineGothamistJezebelHyperallergicBad at SportsThe 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, Atlantic Center for the Arts, The New Museum, Mertz Gilmore Foundation, Flux Projects, University of Antioquia and Casa Tres Patios-Medellin, Colombia. She is the recipient of a 2014-2015 Franklin Furnace Award for a series of interventions in museums throughout New York mimicking the gestures of animals depicted in Old Master paintings and sculptures. In November 2014 she will release her first self-published artists’ book, entitled Rejection, Just Over 15 years of Ambition, which was featured in the D.A.P. publication, On Art and Life, by Stuart Horodner.  Purchasers receive a one of a kind portfolio box with a copy of every rejection letter Liftig has received to date.  Every year, purchasers receive a packet with the rejection letters of that calendar year to update their collection.  Their purchases also fund the production of a duplicate edition of Rejection which is sent to an institution of their selection from an index of all the organizations that have ever rejected the artist.  Please contact the artist directly for more information or to purchase a copy.  Upcoming performances include performing in: Screening Room, or, The Return of Andrea Kleine (as revealed through a re-enactment of a 1977 television program about a ‘long and baffling’ film by Yvonne Rainer.) at The Chocolate Factory in Long Island City, Queens,  A performance/dance collaboration with Tess Dworman at Center for Performance Research, Brooklyn, NY, and AUNTS on Camera at The New Museum, NY.  anyaliftig.com

Lital Dotan & Eyal Perry (aka: Glasshouse) have been a collaborative team since 2001. Their work is best described as interdisciplinary performative art, integrating elements of video, photography and installation into performance; challenging ideas pertaining to the role of art in society, the role of the audience in art and the very nature of art itself. In their performative pieces they often involve the public, seriously examining public morality and the deeper, more hidden motivations behind social interactions. In 2010 the Glasshouse project was hosted by seminal performance artist Marina Abramovic at her institute in San Francisco. In addition to their work as Glasshouse, Lital & Eyal’s works have been exhibited internationally in museums and galleries (the Israel Museum, the San Francisco Jewish Modern and the National Museum in Cracow among others) and can be found in public and private collections worldwide. glasshouseproject.org

Future Death Toll’s David and Edward ask a lot of questions, like: how can we make performances with people not in the same room (would that also work for several performers in several different places)? is silence important? how far does our voice reach? how can this engage the public? what’s the most minimal amount of material required to conceptually encapsulate the relevant point? Answers become fodder for group collaboration and idea exchange through tools like open forum discussion, a/v recordings, and live video chat. Black trash bags, heavy breathing, sweat, mask, razors, and clothes are objects of ephemera & appropriated context; which may or may not be (or become) transcendental; which may or may not be well crafted; which may or may not really exist. What is seen? What is not seen? How is it that we can “see” what’s not there? And when you gaze long into an abyss the abyss also gazes into you (to borrow from Nietzsche). futuredeathtoll.com

Kikuko Tanaka: Hybrid Research, Poetic Amalgamation and Communication ” Born and raised in JapanKikuko Tanaka is a frantic thinker and practitioner currently based in New York. Her ongoing series of tragicomic epic “A Tragic Bambi” is an open-ended investigation of psychical histories that inform and condition the present. She has performed and exhibited in various venues, including Smack Mellon, Momenta Art, NARS Foundation, Center for Performance Research, Amelie A.Wallace gallery at SUNY Old Westbury, Vox Populi, Arario Gallery and Panoply Performance Laboratory among others. Her work has been favorably reviewed in Art in America, Art Info, and Hyperallergic. She was a nominatee for a Rema Hort Mann Foundation Visual Art Grant in 2010. She has an interdisciplinary background in her education. She holds a BS in Landscape Design from Chiba University, and has briefly studied fine art at School of Visual Arts, and has engaged in interdisciplinary studies at Hunter College and the CUNY Graduate Center, New York. She was a co-founder/ co-director of one-year artists’ project, Agape Enterprise, Brooklyn, New York, and is currently Administrative Director at Momenta Art, Brooklyn, New York. kikoworld.net

Ivy Castellanos is a performance artist and sculptor. Castellanos is the founder of IV Soldiers. ivycastellanos.com

Zhenesse Heinemann: “Ms Connections. Zhenesse Heinemann produces public programming, and curates and creates art in New York City and beyond.  She was born in Germany, grew up in Chicago, lived on the beach in Los Angeles, and has made a home in New York since 2004. zhenesse.com

WILD TORUS (WT) is the eccentric brainchild of male and female counterparts, Vlady VØz Tokk and Mág Ne Tá Z’air, in addition to their collaborating spawn. WT creates chaotic, cult happenings within multi-sensory installations. Working out of Capitol Beltway inbreeding in a post-Cold War malaise between clashing Russian bloodlines; mental contortion in the American South; abandoned, Castilian wormholes; gradual suburban numbing; and urban hyper-stimuli, WT aims to create a shared, collective experience with audiences. WT utilizes a combination of digital and physical means, like projection art and kinetic sculpture, to communicate major events that occur in the universe. Through an ephemeral process, WT’s constructed interventions alter its participants’ consciousness, as well as their corporeal position in society. The rituals activate a liminal space-time to personally deconstruct events of our contemporary reality, those which have been distorted through media sources and the Internet. Ultimately, the coming together of WT’s clashing identities, invented tools, and cryptic symbols through ritualistic experience erupts into an extreme, dystopian spectacle. wildtorus.tumblr.com

PPL (Esther Neff and Brian McCorkle): “Embarrassed of the (W)hole: Exchange with Petrichor” Panoply Performance Laboratory (PPL) operates across disciplines and spheres, constructing and participating in live situations. Projects such as operas, conferences, exhibitions, a miniature museum, tours, a performance space, an international festival, workshops, and other forms have been supported through Lower Manhattan Cultural Council, Brooklyn Arts Council, LaGuardia Community College, University Settlement, the cell, chashama, liveart.dk, Performer Stammtisch, University of Kentucky, and shown at Defibrillator Performance Art Gallery and High Concept Laboratories (Chicago), Contemporary Art Institute of Detroit, The White Page (Minneapolis), ISSUE: Project Room, Grace Exhibition Space,  Flux Factory, English Kills, Momenta Art (NYC), Villa Victoria (Boston), La Casa del Popolo (Montreal), Gruentaler9 (Berlin) and many other spaces, in addition to public sites including a bowling alley, public libraries, bars, gas stations, etc. Outside of PPL, Brian McCorkle is a founder of composer ensemble Varispeed and has performed in PERFORMA 11 and 13, at The Guggenheim Museum, The Whitney Museum, The Kitchen, and all over the world as a performer and composer. Esther Neff (almost always operating as “PPL”) practices contextual and conceptual work involving modes of institutional critique, curation-as-art, and social performance. She also writes about performance theory and has spoken on/at GritTV, Abrons Arts Center, CUNY, The New School, and published texts here and there on the outmost fringes of academia. Brian and Esther have been collaborators since 2004. www.panoplylab.org

 

Institute_Institut is the last piece in the Transformational Grammar of the Institutional Glorybowl trilogy, three works exploring relationships between institutions and embodied selves.

institute_flier

In December of 2008, PPL co-directors Esther Neff and Brian McCorkle began a process along “documentary” lines, using texts, ideas, and opinions explicitly written/stated by a de-hierarchized body of other humans as scores for attempts to directly perform/act out/embody epistemic currents. We began the trilogy with Schooled and Unschooled (Dixon Place and The West End Theater, 2008), followed in 2009 by Workforce/Forced Work (LMCC 14 Wall Street and chashama’s 42nd St. space, 2009).

By 2010, the research had swallowed us and the work became “operatic” in attempts to reconcile “sensible” institutional schemas with the all-consuming chaos and intersubjectivity of human engagement, participation, and construction, in and of institutions. Beginning to both formalize and destroy our own perspectives and methods (we currently maintain that these are simultaneous and inseparable intentions), for Institute_Institut we conducted a series of “Focus Workshops,” happening-type performances that were open to the public and used theater and movement therapy exercises to reenact emotional and psychological relationships between individuals and institutions. Interviews, in different forms, were also conducted with participants (off the street, invited, and as part of institutional and non-institutional gatherings).

Primary Focus Workshops were held at Surreal Estate in Bushwick, Judson Church in Greenwich Village (during the Anarchist Book Fair), Studio Maya in Prospect Heights, during FIGMENT on Governer’s Island, at LaGuardia Community College in Long Island City, and Force and Flow Studio in Crown Heights (and elsewhere). Moving through institutional constructs like “the theater industry” and organizations including schools, workplaces, hospitals, churches, government offices and stations (police), and of course our own “nation-state,” debating social institutions like marriage, kinship, religion, language, media, and pursuing “information about” many other areas of semantically tricky institutionality, we began to break down a matrix of considerations and communications which eventually resulted in the opera libretto and music. We then cast and rehearsed the opera over the course of 8 months. Public rehearsals and performances at BOB the Pavilion at Columbia University, during Superfront’s Public Summer at Industry City, LPAC, and incubation and a run of the opera (fully staged) at the cell concluded the project. PPL collaborators on this project included: Megan Cooper, Natasha Missick, Katie Johnston, Matthew Stephen Smith, Brian Rady, Hyatt Michaels, Michael Newton, Kristin Elliot, Ellen O’Meara, Adrian Owen, Andrew Whipple, Dave Ruder, Greg Loewer Jr. and Marie Weigl. Here is a video clip from documentation of that production:

Here is a video: 

Last year, Dave Ruder approached us about making a recording of this opera (operetta really). Thus began a process of individually recording each vocal and instrumental part. This took a few months. And then mixing took a few months. Finally, the recording is completed. You can listen to it by clicking:

http://panoplylab.bandcamp.com/album/the-transformational-grammar-of-the-institutional-glorybowl-part-iii-institute-institut

SALLY: Jessica Jelliffe
MOMMY 1: Gelsey Bell
MOMMY 2: Lisa Clair
MOMMY 3: Brian McCorkle
GEORGE 1: Paul Pinto
GEORGE 2: Matthew Stephen Smith
GEORGE 3: Brian Rady
ANIMALS: Baxton Alexander, Jason Craig (documentary voiceover), Kristin Elliot, Ellen O’Meara, Esther Neff, Dave Ruder
GODBRAIN: Adrian Owen
CLARINET + GUITAR: Dave Ruder
VIOLIN: Daniella Fischetti
DRUMS: Cory Bracken
SYNTHESIZER/KEYBOARD: Brian McCorkle

We are also participating in the launch party for this batch of Gold Bolus recordings! Join us next Saturday night, July 26 @ JACK. 

 

Celebrating the second batch of sonic realities being dispatched by the wee Brooklyn label Gold Bolus Recordings (www.goldbolus.com). Featuring sets from four acts who’ve just put out new albums and one with an album on the way, as well as booze, and of course, tin foil. Admission $10 at the door. Performances by:

goldbolusposterellen o
http://elleno.bandcamp.com/
Backed up by her horn section, Ellen O’Meara plays tunes from her just released synth pop instant classic, Sparrows and Doves

Why Lie?
http://whylie1.bandcamp.com/
Aliza Simons & Dave Ruder + some guests playing a wide range of songs from their freshly unveiled album Osoitos

Panoply Performance Laboratory
http://www.panoplylab.org/
Two acts from Esther Neff & Brian McCorkle’s 2011 opera Institute_Institut, performed by a stable of the finest singers around

Woody Leslie 
http://woodyleslie.bandcamp.com/
Premiering a live interpretation of his ambitious sonic and visual mapping of each state in the USA

Invisible Circle
http://invisiblecircle.bandcamp.com/
Dave Kadden delivers heavy synth, voice, & oboe tunes from his record, coming this Fall

Thank you for reading, and for listening!!!!!

Thank you to Sindy Butz, Ivy Castellanos, Amber Lee, and Hilary Sand for four remarkable durational performances yesterday, Saturday February 16.

Here is some photo documentation:

++++

Craft is a process-object, a powerful alternative trajectory of being in time, it is act and image, its own index and its own result. Inside craft, time stops and function splits conceptually into multiple potentials: material use, catalysis of transcendental states, nonlinear cause and effect relationships with ephemeral existence, literal and metaphorical creation of new forms. These four artists use crafts, the craft, craftiness, and crafting to deal with history, technology/technique, forms of knowledge, the body and womanhood, human agency, and power:

Sindy Butz and Ivy Castellanos have know-how. Their practices include wearable sculptures made with porcelain, molded Styrofoam, and layers of paint (respectively) and more. They apply techniques they’ve tested and developed over time, skilled use of materials, teachable, repeatable techniques and new techniques they’ve invented. As their know-how, the technical, blends with performative task, their bodies become both consciously crafting agents and remain objects themselves. As predominantly constructive sets of skills, “crafts” used in performance emphasizes the problematics of human agency in its most literal forms by demonstrating the complexities of cause and effect relationships between an individual and the material world as well as grey areas between animacy and. inanimacy. The craft, or witchcraft, takes agency a step further into the immaterial, into projection of energies and molding of time and space. Amber Lee frames spellcasting as performance, practicing re-designed forms of rituals meant to operate effectively beyond the immediate situation. She harnesses the repetition of certain performances throughout time, drawing from traditions and beliefs that have been practiced for centuries. In this case, spells themselves are crafts, patterns of symbols, instructions for the body, words imbued with meaning and power. The power of know-how, craftiness, is a form of social and spiritual intelligence. For Hilary Sand (see her text on the next page), craftiness is a practically political situation, a state of self-recognition and confidence that deals with dominant power paradigms and negotiates social evolution. Hilary’s ongoing use of textiles allows her to allude to crafts that have been gradually excised from daily life, crafts that once clothed the body, crafts that once defined womanhood. In that her wrapping, tangling, and weaving is “nonfunctional” it asks us to evaluate which know-hows (aesthetic? critical?) we choose to practice and how.

-curator

Value of Variety

Hilary Sand

How did my grandmother know that salt immediately applied can lift red wine stains? Or that vinegar is a perfectly efficient cleaning material: safe to eat, safe to breathe, safe to touch, and chemical-free? How did my grandfather know to make a fishing pole out of reeds and not branches, so it would be bendy enough to give when the fish pulls? Or that perch especially love corn? Why didn’t my grandparents need self-help books to stay slender, or understand their children, or figure out their interpersonal relationships? What did they know about the world, their minds, their bodies, which I do not?

We have become so specialized that we do not trust ourselves to fix a hole in the wall without calling a professional. Many times, we are not wrong. But someone will always be able to do something better than you when you do not even once make the attempt. We often do not feel compelled even to attempt things any more. In “Art and Work,” an essay published in 1965, Harold Rosenberg said “The ideal vista for the future is clear: it is that self-development shall be the motive of all work. If that ideal prevails, the distinction between the arts and other human enterprises will become meaningless.”[1] Forty-eight years later, while the rest of the populace never seems to have gotten Rosenberg’s memo, I think this is becoming more than an ideal for artists, it is a goal. Interdisciplinarity and community-based art practice are its heralds: we are beginning to not only share what we know, and to expand the fields of our knowledge, but to strive for cohesion and synthesis among these spaces.

Today, we can look things up, to verify with the voices of millions online that my grandparents’ tricks will work, that they do work. But I don’t like corn, I buy my fish in pieces from the grocery store where it does not look back at me with a forlorn expression, and I most definitely trust Windex over vinegar to keep my windows shiny and Shout over salt to keep my fabrics pristine. I buy bags of cookies and boxes of crunchy cheese crackers and make myself sick with snacks (mostly metaphorically). I have read many words about how to live in today’s world. I do not think that I am happier than my grandparents were. But, I do have a bonus: I have them.

I am carrying around a host of historical knowledge, though it is small knowledge by many standards. It is unused knowledge; it is even perhaps redundant knowledge—in light of the unlikelihood of a sudden change in our socio-economic cultural structures or of the absolute death of my ambitions. But, like non-coding genes in our DNA and vestigial structures that are no longer actualized in the systems of the body,  this knowledge will sit in my bones and live in my mind until it becomes evolutionarily beneficial once again.

I recently spilled red wine on a white dress at an art opening, and the gallery didn’t have any stain-removers, but they did have salt. It works just fine.


[1] Harold Rosenberg, “Art and Work” in Discovering the Present, (Chicago and London:The University of Chicago Press, 1973), 68.

IV Soldiers in 2011

IV Soldiers in 2011

While the commercial art world struggles to fit the performance practices of artists today into existing market models and performance artists struggle to fit their practices into existing market models and/or to resist existing market models, Ivy Castellanos, director and curator of IV Soldiers Gallery has come a long way in the past two years her storefront gallery has been open on Noll Street towards developing new modes for the presentation of Performance Art.

Slash and Burn is characteristic of Castellanos’ curatorial methodology, involving artists in a sequence of Thursday night performances and inviting them to create new performances following an action-based directive. In this case, artists have been encouraged to “resist resistance, succumb to violent impulse, insist, enforce, make space,” a directive that Castellanos identifies as a “representative aesthetic” of the gallery, drawing on her own military background and interest in the conflux between performance art and social justice. The action-based directive, the opportunity to work on a performance with a public audience over the course of three nights, and the presentation of the work in a visual arts context all provide a concrete platform for realizing performance art

IV Soldiers in 2012, 'Transformation' performance in progress

IV Soldiers in 2012, ‘Transformation’ performance in progress

blog3as a discipline. Past exhibitions at IV Soldiers have similarly provided a conceptual directive, from ‘to campaign, to advocate” for Campaign, the gallery’s inaugural exhibition, through public can collecting and social projects during iCan in October 2012, through ‘to collaboratively and improvisationally build a conceptual treehouse, to use a site, to perform using each other’ for Transformations in November, 2012.

For SLASH AND BURN: Performance Art, each night will present the performance work of Lindsey Drury, Hiroshi Shafer, Valerie Kuehne, and PPL (Esther Neff and Brian McCorkle). Performance exhibition nights are free and open to the public.

slashandburn

SLASH AND BURN: Performance Art

Thursdays, January 17, 24, and 31
 8pm-10pm 

IV Soldiers Gallery
184 Noll Street
Bushwick, Brooklyn

valerie

Valerie Kuehne

Ivy Castellanos at MANA Contemporary in Chicago, on tour with PPL and Valerie Kuehne

Ivy Castellanos

lindsey

Lindsey Drury

hiroshi

Hiroshi Shafer at IV Soldiers

We can start over any damned time we want to. This seems as good a time as any to declare this world “new,” a slow-motion big bust passed and a new magnetism pulling matter together in ways that would have previously seemed absurd, or even impossible. There is a new odor in the air, be it the roasting of our skin cells as the sun rips through the ozone or the oozing perfume of carnivorous blooms as the foliage rapidly mutates, we keep sniffing it up like 6th graders in the craft supply closet.

Miao Jiaxin performs at PPL, 2012

Miao Jiaxin performs at PPL, 2012

PPL certainly has a new sense of itself, with a new space (Panoply Performance Laboratory, 104 Meserole Street) in which to host projects like Matthew Silver‘s monthly “Performance Art Open Mic,” (first Sunday of every month), PERFORMANCY FORUM, and the work of artists we find particularly rigorous, revelatory, and rich in substance, such as Chloë Bass‘ One-on-One Consultations for her The Bureau of Self Recognition (August 2012), a one-night exhibition with visiting artists from London’s ]performance s p a c e [Valerie Kuehne‘s curation and cognition of “performance music,” Miles Pflanz‘ book burning video-making, rehearsals for a piece by Yelena Gluzman, etc, etc, etc.

PPL bookshelf

spacespacespacespace

The space, however, has only been one aspect of condensing and strengthening of an identifiable community, individuals diverse in practice yet singularly dedicated to mutualism, collaboration, non-homegenizing collectivity, shifting points of leadership, and methodological rigor in the curation, conceptualization, and creation of live, situational, social, and performance art. It doesn’t need to be controlled, it’s impossible to frame with any kind of “art historical movement” kind of insufferable pretense, it simply occurs, dare we say “naturally,” though a fetish for “naturalness” is quite certainly a false faith.

Screen shot 2012-08-03 at 1.09.20 PM

PPL’s ‘NATURE FETISH: A public opera’ in Art Review

As organically as shifts in tectonic plates however, IV Soldiers Gallery, directed and curated by Ivy Castellanos became a site for PPL’s core exploits this past year, during the iCan Exhibition and Social Project, and during the several month-long exhibitions that have radically reformed the way we work by allowing us to consistently perform short-form pieces in stimulating contexts.

participants play analog can instruments during one of PPL's  iCan exhibition performances at IV Soldiers

participants play analog can instruments during one of PPL’s iCan exhibition performances at IV Soldiers

Our practices have similarly been forcibly evolved by collaboration with Valerie Kuehne as PPL went on a tour across the Midwestern US, collaborating improvisationally with Kuehne and those present in bars, a bowling alley, a public library, at the MDW Art Fair, etc, developing modes for combining sonic art/music and object/body-based performance, improvising, and disseminating performance art using musician/band touring models. This national tour built on our experiences with Kuehne and Anya Liftig in May 2012, when we traveled to Berlin to participate in MPA-B, working reactively within dolanbay’s action installation at Grüntaler 9, participating in Performer Stammtisch, collaborating with Liftig, and doing workshops with Lioba Reckfort and the Intergalaktische Kulturverein. All of these cretaceous experiments multiply and mutate, appearing as (as a culmination of the US tour) a 12-hour “diner/opera” called You’re a Big Boy Now OR Rauschenberg ist Todlich 

You're A Big Boy Now OR Rauschenberg ist Todlich (photo by Sissie Strutt)

You’re A Big Boy Now OR Rauschenberg ist Todlich (photo by Sissie Strutt)

performed with Kuehne at Fitness Center for Arts and Tactics (the new gallery opened by Pflanz and cohort that pulled 14 artists/groups into an epic 14-day exhibition of “marathon” durational and relational performances), conceptions of performance as involving the acts of curation and organization that surround the public presentations themselves, and the initiating of The Compendium, a temporary collaboration between organizer-artists who produced Technics, a two-night exhibition dealing with technology/technique at Center for Performance Research in June 2012, and now a new unnamed but much larger group that is instigating the online and networked participatory, mass performance/festival Brooklyn International Performance Art Festival (BIPAF), which will culminate July 4-28, 2013.

Other events have seemed to effect PPL as shifts in weather, for example the projects involving PPL co-directors Brian McCorkle and Esther Neff outside of PPL, such as Brian’s work as part of Varispeed, the collective, which produced John Cage’s Empty Words as a sprawling opus spanning Roulette, Exapno, the Brooklyn Bridge, and 12 hours of sound, text, and music. More recently, Esther has become part of the No Wave Performance Task Force, instigated by Lindsey Drury (for whom Esther created a text/sound score for the dance Run Little Girl at Merce Cunningham Studios in February 2012 and with whom PPL are collaborating to create Any Size Mirror is a Dictator, our 2013 opera) and made concrete via collaborative, feminist-form durational performances (Transformation and Embody Explosion organized by Ivy Castellanos), and other events and meetings.

'PPL Help the Water' at the Gowanus Ballroom during 'To the Stars on the Wings of an Eel'

‘PPL Help the Water’ at the Gowanus Ballroom during ‘To the Stars on the Wings of an Eel’

The more chaotic the environment/situation, the more performance thrives as a way of experiencing existence; states of becoming, recognizing, cognizing, relating, and communicating compose the now, and there is no ideal or eventual position of stability expected or even desired…ideas, spaces, organizations and other collectives, books, all the individuals with whom we’ve collaborated this past year, been curated by, curated/hosted, organized alongside, met with, all combine to construct a relational ecosystem too complex and fragile to parse, too specific to identify as any version of the world we’ve seen before…

PPL YEAR IN REVIEW THROUGH PICTURES…

Come visit PPL  at CPR two weekends in a row this month!

First, we perform in:

New Voices in Live Performance Curated by Anya Liftig
Dangling Modifier– After the Comma

Friday June 15 and Saturday 16 @ 8pm (PPL performs both nights)
Tickets: Free, Donations for CPR encouraged

Artists: Tess Dworman, Panoply Performance Lab (Jessica Bathurst, Arla Berman,
Devlin Goldberg, Katie Johnston, Brian McCorkle, Natasha Missick, Esther
Neff, Michael Newton, Ellen O’Meara), John Berdel, Stephen Van Dyck

Dangling Modifier brings together east and west coast artists who are
helping to define a new avant-garde. Brooklyn based Tess Dworman
investigates the sculptural potentials of the face in movement work. Los
Angeles artists John Berdel and Stephen van Dyck work with meditation,
subtle infiltration into public spaces, and intimate performance scores.
New York’s Panoply Performance Lab examines complex systems and
traces epistemic, emotional, and socio-political viewpoints/theories using
music, text, analog electronics, video, participatory elements, and found
materials. Click here for more information.

****

THEN we have co-curated and co-organized this micro-conference at CPR the following weekend:

Compendium: Technics
is a public micro-conference with performances taking place over the course of two days:

Friday, June 22, 6pm-10pm
Saturday, June 23, 3pm-10pm
Panel discussion: June 23 at 4pm

Suggested donation $5-15 at the door only.
All are welcome!

Center for Performance Research
361 Manhattan Avenue, Brooklyn
(L to Graham Ave.)

Performances by: Whitney Hunter, Jorge Rojas, Sister Sylvester, drearysomebody (Lindsey Drury), Anya Liftig, Hiroshi Shafer, Emily Wexler, Ivy Castellanos, Alejandro T. Acierto, Jessica Pavone, Charmaine’s Names, Brian Zegeer and BabyCopperhead, Toby Driver, and others.

The Compendium invites these artists to research their relationships with technology, technicalities, and technics. Artists across disciplines manipulate, access, and utilize objects and systems, interacting with technics that are present in performance situations, both as part of the technicalities of presentation, and as instruments, tools, devices, visibility and amplification aids, and as part of documentation, methodological means, and aesthetic and political vehicles.

We ask, how do artists use technical means to their ends? How are techniques and technology related and/or unrelated? How are technics/technology/techniques developed and chosen as part of artistic practice, using what kinds of concerns? Who has access to technology and techniques/technics and how do they commodify/become commodified and/or de-commodify/become de-commoditized?

In an exploration of these considerations, artists will present work to the public during two nights:

Friday June 22: Hiroshi Shafer, Alejandro Acierto, Lindsey Drury, Charmaine Names, Ivy Castellanos, Amy Wexler and Sister Sylvester will perform in the CPR spaces in the absence of colloquially-defined “technology,” sans electricity, sans amplification, stripping the work of all forms of technics, even in some cases, attempting to perform without “technique.” Audiences must be present in the space to experience the work. Documentation will consist of written descriptions.

Saturday, June 23: Lindsey Drury, Sister Sylvester, Jorge Rojas, Rafael Sanchez, Anya Liftig, Jessica Pavone, Ivy Castellanos, Whitney Hunter, and Alejandro Acierto have access to CPR’s “cutting edge” technological array, including multiple projectors, sound system, and lighting grid, and may bring in their own technological devices, set-ups, electronics, and mechanisms. Audiences may view streamed performances from computers all over the world and performances will be documented on digital video.

A public round-table discussion on Saturday, June 23rd at 4pm will allow us to reflect on the collective research performed, involving the artists from the project and including other voices in live performance. Come be a part and see these incredible artists present new work!

About the Compendium

Over the course of 2012, The Compendium initiative will experiment with hybrid modes of curation, exchange, and presentation, producing exhibitions, performances, publications, and more.

The Compendium is comprised of artists who are deeply engaged with their communities. Organizing both as artists and as directors of alternative arts spaces, curators, members of ensembles and collectives, arts writers, and as agents of cultural influence, we form a “living compendium” to channel multiple agendas, intentions, and ideas into concrete support for artists and grassroots arts organizations.

The Compendium functions via face-to-face meetings, sharing time, funding, space, critical analysis, materials, transportation, residencies, publicity, skills, and other resources.

The Compendium organizers on this project are (in alphabetical order): Thomas Bell (Spread Art), Ian Colletti (Vaudeville Park), Christina DeRoos (Spread Art), Valerie Kuehne (The Super Coda), Brian McCorkle (Panoply Performance Laboratory, Varispeed), Esther Neff (Panoply Performance Laboratory, PERFORMANCY FORUM), Paul Pinto (thingNY, Seven Immediacies Series, Varispeed)

This image depicts a Kibbo Krift ceremony. We learned of the existence of this via admiration of Olivia Plender. POW! PPL influenced.

THIS WEDENSDAY, we invite you to join us one more time at at the Performance Project @ University Settlement for the FINAL FOCUS WORKSHOP (5 of 5) for NATURE FETISH

We will explore conceptions of “EVOLUTION” as well as any other narratives about nature, natural cycles, natural systems, or “inevtiable natural processes.” Do we know now where we came from? Is the big bang, the chain of life, the “truth”? Did the universe really happen by chance? Improvisation, debate, singing, and red wine!  We will create and perform some scores and situations, to discuss what would be interesting to see, hear, feel, and otherwise experience as part of this opera, and to use this “creative excuse” to get philosophical, personal, and performative. (Notice how hard we work to begin words with the letter ‘p,’ doesn’t that make you want to come pppppplay?)

Hope to see you there!
October 19: Laws and Logic of Nature
October 26: The Wild
November 2: Animalia
November 10: Nature and Consciousness
December 7: The Evolution of Nature!

7pm-9pm
at the Performance Project @ University Settlement,
184 Eldridge Street
(F/M/J/Z to Delancy, 4/6 to Spring, or B/D to Grand)

FREE and OPEN TO THE PUBLIC

Absolutely no experience is necessary! Performers, musicians, directors, artists of all kinds are welcome, but so are dentists, magicians, social workers, house painters, and everyone else.

Come to one workshop or join the production team and perform the final work in April; multiple levels of participation and engagement are possible. We are currently “casting” this opera (always room for more PPL), if you would like to be a part of the next steps of the project as a performer, plastic artist, or other involved party, please email us: panoplylab@gmail.com.