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THANK YOU TO ALL WHO PARTICIPATED IN AND ATTENDED THIS CONFERENCE!!!! IT HAS NOW CONCLUDED BUT WE WILL DO IT AGAIN SOON!

In the meantime, join the PERFORMANCY FORUM Facebook group HERE.

 


Beatriz Albuquerque performance this past Friday night at Grace Exhibition Space (with Sharon Shih)

 

The non-autonomy will continue this weekend!!!

Thank you/chokrane/merci/gracias/xièxie/danke/asante/arigato/etc to all who participated during the first weekend of Conference of Works: Operations and Participations, whether by standing around drinking beer or by sharing performance work as part of the “occupation” of Grace Exhibition Space!   Documentation is to come! Here’s some Dimanche Rouge (which was streamed into GES Saturday)  in the meantime…

Below is an updated schedule for this weekend…hope to see EVERYONE THERE, participating in the roundtables (yes, yes, please come) and experiencing the performances/talks/workshops etc.

Conference of Works: Operations and Participations

FRIDAY, NOVEMBER 11: VAUDEVILLE PARK
7:00pm:
Welcome! drinks, introductions
.

7:30: Ann Hirsch on her notorious hipster “cewebrity”! Visit Youtube.com/user/scandalishious and scandalishious.com if you’re curious before her talk!

8:00: G Douglas Barrett Ground Music, which will invite audience members to “take to the ground”—as a spatial and metaphorical site for political, philosophical, and sonic reflection.

8:30: Anya Liftig we do not know what Anya will do EXACTLY, but whatever she does, whenever she does it, it is always astounding.

9:00: Alex Young has a notion, and nothing that he does  really falls into ‘music composition, performance art, or internet’ work, though it does tend to address ‘artistic authorship while experimenting with modes of participation and intervention’.

10:00: Jules Rochielle is an artist and the founder of the Social Practices Arts Network (SPAN). Her visit to NYC from LA catalyzed–in part–this conference and the meeting of many like-minded people.

10:30: Gretta Louw:Controlling Connectivity Gretta has been living in a Berlin gallery space in complete isolation except for the internet since November 2nd. We will visit her online via skype and see how she’s handling it…

Five individual artists working in music composition, performance art, and interactive/internet forms describe, perform, and present projects that maintain artistic authorship and vision while experimenting with modes of participation, demonstration, and intervention. Come ready to partake in the bar, bring an instrument, bring a dry erase marker, bring a powerpoint presentation, bring an anecdote or joke, bring mittens, and a donation for Vaudeville Park. (address below)

***********

SATURDAY, NOVEMBER 12: GRACE EXHIBITION SPACE
Opens at 3:30

ONGOING: SPAN site/listening station
listen to an archive of interviews with artists with social arts practices!

ONGOING: Urban Layers INTERACTIVE INSTALLATION
Interactively charting who, what, and where, on the wall of the space itself!

3:00pm and ONGOING: Mari Novotny-Jones in a 9-Hour Performance of INFECTION, COAGULATION, SEDIMENTATION, FILTRATION, DISINFECTION.

4:00pm: Open Discussion: documenting, proposing, and theorizing social practiced, engaged processes, and performance art. COME AND TALK ABOUT WHAT YOU DO and HOW YOU TALK ABOUT IT and WHY YOU TALK ABOUT IT LIKE THAT.

5:00: Gelsey Bell performs First Aid Kit, a participatory and indeterminate composition using that little red or blue box with the cross on it, and what’s inside it.

6:00: Christina de Roos and Thomas Bell (Spread Art) Bushwick duo, individual artists, gallerists, curators, and more  show their current work-in-progress and discuss their practice.

7:30: Aliza Simons leads a workshop/performance/happening with some little boxes, also known as radios, which allow sounds to be broadcast in at least a one-block radius.

8:00: Nate Hill presents Race Warriors: “Answer ten easy questions to uncover your racial prejudices, and play your own personalized race war video game,” a project of Racist Incorporated.  play online game here.

8:30: Angela Washko will explain how her practice evolved from a very traditional studio painting practice to a massively interdisciplinary practice with a distinct focus in community organizing, and her participation in collectives and combines.

9:00: Anna Jane McIntyre all last weekend we had story cards for people to fill out (and boy are there a lot of them! Some quite crude), now Anna will perform them over skype from her studio in Montreal, Canada.  

10:00pm: Hector Canonge Three words: perform/play/game. Hector is a master of participatory performance art, cultural organization, and more.

11:00: Dave Ruder’sWhy Lie? in this incarnation, 100 scores, from the graphic to the classically notated, each has its own internal logic and can stand up to a variety of different interpretations by trained musicians or by…you (whether or not you are, in fact, a trained musician)

Artist-curators, theorist-artists, and inter-disciplinary performers who wear “many hats” and come from many different performance backgrounds come together to share their work. Live participatory performances, talks, open bar, hands-on radio broadcasting from the space, and more!

********

SUNDAY NOVEMBER 13: VAUDEVILLE PARK
4:00pm:
Open Discussion: Politics of Aesthetics meet Practice
! You are invited, you are invited, you are invited!

5:00: Carrie Dashow will discuss her practice and how it’s been performing/operating as Yesiree, the notary, at Zucotti park and throughout Occupy Wall Street.

5:30: Valerie Kuehne, Dream Zoo, an improvisational music ensemble will perform! Valerie may also be queried about her curation, community-building, and more.

6:00: Alison Fleminger from the Performance Project @ University Settlement on her residency program for artists working in and with communities, on arts in education, on devising theatre and dance, and on after-school programs and her Play Tank ensemble.

6:30: Douglas Paulson discusses Parfyme, Action Club and his many other projects  in relation to ideas of participation, performance, collaboration, the role of the “audience”, etc.

7:00:Urban Layers is an experimental collaborative platform for urban writing, mapping and media. Its goal is to foster creative combinations of old and new media techniques for describing and understanding cities including tours, essays, photography, maps and video. See this work in action during the conference, hear the artists discuss past, present, and future Urban Layering!

How do artists work in a public sphere? How do artists become political agents, and how can  creative work, cultural organization, and social sculpture operate socio-politically? What does ‘responsibility of form’ mean to us now? What are the political concerns of “avant-garde” theories and forms? Diverse artistic practices, from notarization of public statements during Occupy Wall Street through co-creative urban mapping, through conceptualized musical improvisation are juxtaposed, discussed, experienced, and documented.

**********

http://www.panoplylab.org/conference.html

Vaudeville Park
26 Bushwick Ave
Brooklyn, NY 11211

(Graham stop on the L train – Walk two blocks East on Graham Avenue and turn right onto Bushwick Ave.)

Grace Exhibition Space
840 Broadway
2ND Fl.
Brooklyn, NY 11206

(Flushing Avenue Stop on J-Z Trains – Walk 3 blocks East on Broadway)

For more information, e-mail  Esther Neff at panoplylab@gmail.com

The schedule is online!

CONFERENCE OF WORKS:
OPERATIONS AND PARTICIPATIONS

NOVEMBER 4, 5, 11, 12, 13, 2011
Open to the public ALL DAYS.
suggested donation sliding scale $5-$15

Organized/curated by the Panoply Performance Laboratory with:
Social Practices Arts Network (SPAN), Dimanche Rouge, Vaudeville Park, and Grace Exhibition Space

FRIDAY, NOVEMBER 4TH: GRACE SPACE OCCUPIED!
Ongoing: Urban Layers INTERACTIVE INSTALLATION
7:00pm: Beatriz Albuquerque
7:30: Felix Morelo
8:00: Anna Jane McIntyre
8:30: Maria Hupfield
9:00: Stephen Bracco
9:30: Dara Malina
10:00pm: SK Orchestra

While Grace Exhibition Space curator-owners Jill McDermid and Erik Hokenson are occupying in downtown Manhattan, PPL curates from the streets, from craigslist, from arts social networks, and by word-of-mouth, making a concerted effort to shatter the autonomy of established, medium-specific performance communities. Artists will be provided with lights, sound, running water, a formalized public platform, and the context of “performance art” by one of the world’s best-known dedicated performance art spaces. After the show, artists and attendees go down to Zucotti Park to experiment with what kind of spectrum exists between “art” performance and “political” performance, between street theater, action, demonstration, intervention, performance art, and other forms, and to continue exploration of how performance artists participate in public culture.
**********

SATURDAY, NOVEMBER 5: GRACE EXHIBITION SPACE
Opens at 3:30.
ONGOING:
Social Practices Arts Network (SPAN) site: practice documentation
ONGOING: Fill out storycards for Anna Jane McIntyre
ONGOING: Urban Layers INTERACTIVE INSTALLATION

4:00-7:00pm: Dimanche Rouge Special Edition, Skype Exhibition and Simultaneous Performance: Alexandre Pombo-Mendes, Carmen R. Cruz with Florent Maton and dancer Karl Paquemar, Daniel Gaudard, Manuela Centrone, ETC (Julien Arnaud + Anthony Carcone + Emmanuel Rébus), Savio Debernardis, Vlasta Delimar.
Streamed live from Batofar, 7 port de la gare, 13e, Paris, FR. Exhibition link HERE skype

7:30: Discussion with Jules Rochielle, SPAN organizer, skype
8:00: Lindsey Drury, Love Letter to A Dance Artist you Don’t Know (nor Care to Know)

The private is political, the local is global. Via skype, PPL and Dimanche Rouge join forces to present a simultaneous performance, as well as video, dance, and multi-media work streamed live across the Atlantic from Paris, France to Brooklyn NY, and vice versa. Participants, audiences, and attendees are also invited to fill out hand-drawn storycards for Canadian artist Anna Jane McIntyre, to be performed live via skype one week later, to co-create with Urban Layers, to engage with global practice-documentation project SPAN (Social Practices Arts Network) and create dance work to be performed and filmed by the choreographer/performer.
***********

Anna Jane McIntyre's Fill It In Yourself story cards

FRIDAY, NOVEMBER 11: VAUDEVILLE PARK
7:00pm:
Welcome! drinks, introductions
7:30: Ann Hirsch
8:00: G Douglas Barrett
8:30: Anya Liftig
10:30: Gretta Louw’s Controlling Connectivity skype

Five individual artists working in music composition, performance art, and interactive/internet forms describe, perform, and present projects that maintain artistic authorship and vision while experimenting with modes of participation, demonstration, and intervention. Come ready to partake in the bar, bring an instrument, bring a dry erase marker, bring a powerpoint presentation, bring an anecdote or joke, bring mittens.

***********

Angela Washko (depicted) on Being in Residence

SATURDAY, NOVEMBER 12: GRACE EXHIBITION SPACE
Opens at 3:30
ONGOING: SPAN site/listening station
ONGOING:
Urban Layers
INTERACTIVE INSTALLATION
3:00pm and ONGOING: Mari Novotny-Jones in 9-Hour Performance of INFECTION, COAGULATION, SEDIMENTATION, FILTRATION, DISINFECTION.
4:00pm: Open Discussion: documenting, proposing, and theorizing social practiced, engaged processes, and performance art.

Nate Hill's personalized video game. Launched 2011

5:00: Gelsey Bell
6:00: Christina de Roos and Thomas Bell (Spread Art)
7:30: Aliza Simons (radio transmission)
8:00: Nate Hill  (play online game here)
8:30: Angela Washko
9:00: Anna Jane McIntyre
skype performance of Fill It In Yourself story cards

10:00pm: Hector Canonge
11:00: Dave Ruder’s Why Lie?

Artist-curators, theorist-artists, and inter-disciplinary performers who wear “many hats” and come from many different performance backgrounds come together to share their work. Live participatory performances, talks, open bar, hands-on radio broadcasting from the space, and more!

********

SUNDAY NOVEMBER 13: VAUDEVILLE PARK
4:00pm:
Open Discussion: Politics of Aesthetics meet Practice
5:00: Carrie Dashow
5:30: Valerie Kuehne, Dream Zoo
6:00: Alison Fleminger from the Performance Project @ University Settlement
6:30: Douglas Paulson
7:00: Urban Layers Presentation
Closing and Afterparty (9pm: Organizations and artists planning meeting)

How do artists work in a public sphere? How do artists become political agents, and how can create work, cultural organization, and social sculpture operate in socio-politically? What does ‘responsibility of form’ mean to us now? What are the political concerns of “avant-garde” theories and forms? Diverse artistic practices, from notarization of public statements during Occupy Wallstreet through co-creative urban mapping, through conceptualized musical improvisation are juxtaposed, discussed, experienced, and documented.

**********

These November weekends will bring together performances, workshops, and discussions that deal with the operations (social, political, aesthetic, economic, etc) of participatory, interactive, aleatoric, and other “open source” forms in the practices of artists, curators, and cultural organizers.

http://www.panoplylab.org/conference.html

Vaudeville Park
26 Bushwick Ave
Brooklyn, NY 11211

(Graham stop on the L train – Walk two blocks East on Graham Avenue and turn right onto Bushwick Ave.)

Grace Exhibition Space
840 Broadway
2ND Fl.
Brooklyn, NY 11206

(Flushing Avenue Stop on J-Z Trains – Walk 3 blocks East on Broadway)

For more information, e-mail  Esther Neff at panoplylab@gmail.com

Residency announcement HERE!

PPL will be working on NATURE FETISH, an episodic (five part) participatory opera. It will be developed in three phases through The Performance Project @ University Settlement

1.) public workshops/group performance research
2.) rehearsals/production (with workshops of episodes Friday and Saturday, January 28 and 29, 2012 8PM)
3.) interactive public workshop performances (Thursday April 26th – Saturday April 28th, 2012)

You’re invited to stage one:
  a series of five free public workshops lead by PPL composer Brian McCorkle and director/librettist Esther Neff. The project seeks to provide a platform for the expression and description of  “every day deep thought” and its relationship with action and human agency. All participants in the workshops are considered philosophers, scientists, and generative artists with full authority to publicly explore the fundamental questions, “what do we think nature is? How do our conceptions construct nature, and how does nature construct our conceptions?”

October 19:  Law and Logic of Nature
October 26:  The Wild
November 2: Animalia
November 10: Nature and Consciousness
December 7: The Evolution of Nature

Each event runs from 7PM-9PM.
Admission is free.

These five workshops will:

1.) Generate the underlying musical rhythms and themes for each of the opera’s episodes using amateur choir-building methods, live sampling and looping, and pitch improvisation exercises

2.) Sketch spatial diagrams through movement exercises and improvisation with props and in public parks and other “natural” environments

3.) Gather ideas, phrases, statements, and personal opinions through group discussion and theater improvisation games.

Inside overarching questions about “the nature of nature” in their impossibly grand philosophical sense, are five more direct conceptual clusters, which structure the individual workshops and determine which exercises and games we will use. The first workshop will focus on any Laws and Logic of Nature, the second on ideas of wildness, or The Wild, the third will be titled Animalia, the fourth Nature and Consciousness, and the fifth will focus on historic and scientific ideas of nature, entitled Evolution of Nature. Associations with these titles will give us a starting point and allow the workshops to move concretely towards the second stage of the project.

Come to one or come to them all! If you are interested in being part of the project as a whole, the best way to get involved is to attend one of these workshops or e-mail panoplylab@gmail.com (also, feel free to e-mail if you have any questions)

You are cordially invited!

May 21st and 22nd 2011 at University of the Streets.

This conference, MODE, METHOD, MEDIUM brings together artists and cultural organizers who work between disciplines both in terms of medium and in terms economic/field-based distinctions. We hope to take a step towards dialectic and artistic solidarity between the independent and ‘avant-garde’ communities in dance, performance art, theater, and music, and to share our vocabularies and methods.

Presentations will include performances, project presentations, artist talks, papers, and interactive workshops.

Inherently and formally political, often interactive and/or participatory,  always startling and deeply considerate, artists, curators, scholars, and cultural organizers will share their work, discuss their practices, and participate to two open round-tables about what “medium,” as a mode of transmission, means to us now.

Saturday, May 21, 2pm-6pm
Sunday, May 22, 2pm-10pm

Public round-tables at 4pm both days

University of the Streets
130 East 7th Street (between 1st Avenue and Avenue A)
New York, NY 10009-6164

Open to the Public
Free

Participating artists and companies include:

Handan Ozbilgin, showing part three of her MAIDS project, members of experimental music ensemble thingNY, Ben Spatz/Urban Research Theater, JJ Lind and Liz Vacco of Immediate Medium, Peruvian artist Amapola Prada and her Lima New York Project, participatory performance art-ist Carrie Dashow, cultural organizer/icon Jason Andrew, sound and movement researchers William Bilwa Costa and Martin Lanz Landazari, Ashley Kelly-Tata of Enthuse Theater, the pyromaniacs from Aztec Economy, Melanie Armer and Chance Mueleck of Nerve Tank, GoGoVertigoat’s Lindsey Drury, and interdisciplinary practitioners Sarah Maxfield, Angela Washko, Rebecca Patek, Nate Hill, Hyatt Michaels, Gelsey Bell, Dave Thrasher, and many others!

SCHEDULE:

Saturday, May 21

2-3:00
Handan Ozbilgin (MAIDS)
3:15pm-3:25
Dave Thrasher
3:25-4:00
Hyatt Michaels
Carrie Dashow
4:15pm-5pm: round-table 1
medium, mode, method (emphasis on participation)
5-5:30
Amapola Prada
5:30-6pm

thingNY

Sunday, May 22nd

2pm-3:15 pm
Hector Canonge
3:15 -4pm Nate Hill
4pm-5:00pm: round-table 2
medium, mode, method (emphasis on discipline)
5:00 performances
Angela Washko
5:30-7pm: presentations/artist talks

Jason Andrew
Gelsey Bell
Sarah Maxfield
The Nerve Tank
7:00
William Bilwa Costa, Rebecca Patek, Martin Lanz Landazari
8pm
Lindsey Drury
8:45-9pm (clean up and short break)
9:00pm

Ben Spatz/Urban Research Theater
10pm
Aztec Economy
STRIKE
11-end

This conference is organized by Esther Neff of the Panoply Performance Laboratory, with advice from The Nerve Tank! Thanks to all participants, who have created the form of this weekend.

Contact: panoplylab@gmail.com

Institute_Institut is the last piece in a trilogy called the Transformational Grammar of the Institutional Glorybowl. Here is background, definition, and context for those who are interested.

In 2008, PPL created and produced the first work in this trilogy, Schooled and Unschooled, the first piece that PPL really considers a part of our own mode and aesthetic. I was teaching creative movement and acting when it began, both playing with 5 year olds and devising work with teenagers. On the same day, a six year old boy told me that his teacher told him he was a “Bad Kid” AND a sophomore in HS shared a scene in which a team of girls burned down their school. Likewise, I was struggling to use their ingrained physical patterns from school in my classes (hand raising for example, made me very uncomfortable as a teacher) and fully help them explore their experience through performance, but I was sensing a lake of rage and experience that I couldn’t possibly fully understand (having been unschooled K-12 myself). I was also conscious of my strong political and ideological opinions about education in this country (and how unqualified I was to be conclusive about any of these without any concrete experiences).

I wanted to test my subjective values, prejudices, and concerns about institutionalized education, and satisfy my curiosities about school at the same time. I was most curious about how it felt to be in grade school in the U.S, and how individual experiences with school formed worldviews, psychological and emotional patterns, and political perspectives. I ended up interviewing around 50 people, most of them teachers, children, and education “experts” of various sorts. I then combined/contrasted their statements, stories, and opinions with my own, and with the writings and theories of Piaget, Dewey, Adler, Bagley, Gardner, Foucault (and works using his theories), and many others. I was very nervous about the form of the piece, a class lead by a teacher with Brian’s songs performed live at intervals. The work was performed at Dixon Place (the old space) and the West End Theater on a budget of $135 by a mixed group of actors and “real people” who were school teachers, students, and individuals who had particular interest in the subject. The performances turned out of the pan in rather messy clumps of strong rhetoric, propaganda, and raw emotion. In retrospect, the piece seems very inchoate, the work of young artists throwing pieces of dough at the wall in hopes of creating dinner. During one of the performances, an audience member (a middle school teacher I found out later) stood up and shouted Boooo! and walked out. An excerpt from (rather poor quality) video documentation of Schooled and Unschooled can be found HERE.

The strong reactions to Schooled and Unschooled helped us form the next piece in the trilogy, Workforce/Forced Work. By this time, we had done a lot more research on documentary and post-dramatic performance post-Tectonic. It’s always useful to align one’s own theories with those of others. We also saw pieces by other theater artists working in “documentary” and engaged forms, as well as a great deal of performance art. I was also in the middle of collaborating with Dina Keller, a German director whose work is decidedly documentary. Workforce/Forced Work was created in an abandoned bank vault on Wall Street (across from the New York Stock Exchange) thanks to the Lower Manhattan Cultural Council. The economy was collapsing all through the process. Here, for Workforce/Forced Work, the “Focus Workshop” was termed, as interviews became groups of individuals invited into the vault to re-perform their daily work actions, vent, discuss, and sometimes perform sequences of movement for video to be used in performance.  The final piece was comprised of pink rats, the repetitive gestures of workers, processed cheese food, and a dense, sample-driven score made from Brian’s field recordings in power plants, poultry factories, etc. We also did some clay animation, some Flash animation, incorporated a lot of video, and performed the piece in the vault and as a regular run through the Residency @ chashama. HERE is some documentation of this one. I also wrote this article for NYFA Current, which explains the direction that the trilogy was taking under the influence of Ranciere, Badiou, and a lot of other French Marx-influenced philosophers who appeared in NYC to lecture. This time, when an important funder asked loudly after the third show “WAS THAT EVEN THEATER?” we felt slightly less like juvenile delinquents and more like we were getting somewhere.

Finally, we have reached Institute_Institut, which will be less educational post-drama than the first two pieces, as influenced by PPL’s shift into documentary folk opera.  For this piece, the Focus Workshops figure more prominently as part of the project, and will be completely public. They are being advertised in English, Spanish, and French and will begin with a round-table discussion a la product-centered Focus Groups, with the consideration of “Institutions” and their suitability as frameworks for daily life. They will then “focus” into a group-psychology session, much like those made popular in the ‘60’s and ‘70’s regarding experience with gender, sexuality, and life path. Finally, we will enact institutional experiences and engage in explorations of institutions, using post-it notes, theater games, and other forms of physical analysis. I am using the workshops held by the Anti-Racist Alliance and permaculture guru Bill Mollison (among many others) as templates for this exploration.

Although the Focus Workshops will be taped, I doubt we will use actual footage from them in the piece (unless something is so amazing that it must be used). Rather, we will synthesize perspectives, opinions, experiences, and statements into “expressive” sequences which can be performed by four choirs. Dramaturgy is a major concern! We want to discover new forms of dramaturgy which do not rely on autonomous, symbolic/mythic/empiric systems. This project is more about the effects of institutional structures on individuals than it is about describing or defining specific institutions, as the concept of “institution” lies only in its enactment/influence. Most concretely, we are beginning with the idea that institutions are any mimetic (reproducing) social constructions which organize behavior, emotion, and so on into that which is perceived (by the institutional structure itself, as an emergent entity) as beneficial for a group of people. We wonder, how can we unpack this type of complex-systems-ese into ideas which can be used by individuals in daily life? How can we gain perspective on the “phenomenon” that is “institutionality”?

For an invitation to participate in the Focus Workshops, see the post below. Hope you can make it! We are also (in June) doing one-on-one interviews. If you are interested in being a one-on-one interviewee, e-mail me (Esther) at panoplylab@gmail.com.

The all-consuming nature of the process of creating and self-producing experimental theater work is one of the best things about it. Sure, it doesn’t make you a great conversationalist outside the rehearsal room as you near your previews but at least you’re too focused on the overall cohesiveness of the piece, it’s production values and details, to wonder overmuch about the terrifying aspects of audiences and critics. Mostly, a person gets very serious in this focus, with endless lists, calendars, excel sheets, press releases, etc, the somewhat dismal administrative side of self-producing, coated in the cold wax of concern about box office return, etc.

Yet, I was so excited yesterday that coffee actually calmed me down; it’s hard to say if theatre artists are just that because they are over-emotional, or if we are over-emotional because all of this is so emotionally catalytic. In any case, the cast and I all got worked up because enormously talented, easy to work with, and on-top-of-her-shit costume designer Lena Sands brought in what she’s been working on, including the head of the swan costume that she’s creating in collaboration with set and props wizardess Liz Jenetopulos. We also got to plan out hair and make-up looks with Brandalyn Fulton who is hardcore awesome. Sometimes, sometimes, one is trying on costumes and playing with props and talking about hair, and suddenly one is six years old again, and we remember how satisfying it is to play, and to be serious about playing. This is neither an astute statement nor an original one, but yesterday I was reminded of the endless love that lives even deeper than ideological belief in performance as a tool for social change, an endless love and delight for the theatre, for theatricality, for acting, for dressing up, for imagining.

In any case, it’s time! Come see the opera!

Our first previews are Thursday and Friday of this week, the 15th and 16th, at ABC No Rio, Manhattan’s last great DIY space, at 8pm. Tickets are pay-what-you-can, $5-$15.
Then, we perform for two weekends in East Williamsburg (Bushwick damn it!):

Surreal Estate
15 Thames Street (between Morgan and Bogart, 2 blocks from the Morgan L)
Brooklyn, NY 11201

8pm Thursday, July 22nd
8pm Friday, July 23rd
8pm Saturday, July 24th
3pm Sunday, July 25th
8pm Thursday, July 29th
8pm Friday, July 30th
8pm Saturday, July 31st
3pm Sunday. August 1st

$10
https://www.brownpapertickets.com/event/115185

Is it true (psychogeographically) that art made in Queens tends to be from the Donald Judd school? Not “minimalist” per se (Judd of course hating this term) but rather influenced by constant construction-cone orange, 1960’s flat turquoise, stainless steel, and-eluviation-layer-soil terra cotta?

Not to mention now, the overwhelming aesthetic of the Citi behemoth? Perhaps it is the lack of compositional hierarchy that can be applied (as a huge generality) to art made in Queens now, an interest not only in breaking down hierarchical structures in terms of (aesthetically, theoretically) plane and color, but also socially, in terms of the economy of the art world, amongst artists, funders, curators, and spaces, established and emerging artists, and white, heterosexual, male artists vs. immigrants, women, queer artists, etc.

Hector Canonge is rapidly becoming a crucial part of a democratized, de-hierarchized arts community. Although an artist first (new media, performance, digital arts, and more) Hector also organizes/curates shows, doing the legwork to gather artists and their work together, and co-directing QMAD with architect Gonzalo Casals.


QMAD’s current exhibition opens tonight, June 16, at 6pm and closes July, 1, 2010. BABEL includes work by Gema Alava, Nobutaka Aozaki, Javier Arau, Aileen Bassis, Susan Breitsch, James Chen-Feng Kao, Felipe Galindo, Iliana Emilia Garcia, Janet Goldner, Jennifer Grimyser, Jia-Yi He, Linda Herrit, Paolo Javier, Jihay Kang, Larry Litt & Nicolas Lee, Carla Lobmier, Norma Markley, Derick Melander, Rahul Mitra, Veru Narula, Ann Oren & Zevan Rosser, Renzo Ortega, Panoply Performance Laboratory (Esther Neff, Brian McCorkle, Matthew Stephen Smith), Cristian Pietrapiana, Jenny Polak, Michael Pribich, Elisa Pritzker, Svetlana Rabey, Daniel Rossi, Joseph Gerard Sabatino, Nivedita Shivraj, Priscilla P. Stadler, Anna-Maria Vag, Deborah Wasserman, Andrew Wilkinson, Tammy Wofsey.

Directions: Space 37, 86-08 37th Avenue, Jackson Heights, NY 11372.
* Queens bound #7 Train. Exit at 82 Street and Roosevelt Avenue. Walk on 82 St. to 37 Ave. Turn right on 37 Ave. to 86 Street.

Click Here to link to the video that PPL is showing in this exhibition.

It’s year three for Arts in Bushwick, an all-volunteer organization, generation Y is better at organizing than everyone expected. Bushwick Open Studios starts tomorrow (Friday, June 4) and promises a lot of free beer and lots of art that looks like Chitra Ganesh and Basquiat collaborated on a design for a mass-producable skateboard.

Surreal Estate is a part of the Open Studios this year, crossing the line between all-out freegan, DIY, underground, outsider art and the industrialized art world. Should I invite the people I work with at The New York Foundation for the Arts?

On Friday night at least, I am excited to invite people to the third PERFORMANCY FORUM, for which we have a great line-up of artists, primarily music and sound artists. This will take place beginning at 8pm at Surreal Estate, in our newly renovated (well, in-progress) performance space.

Stop by! Surreal Estate is at 15 Thames, between Morgan and Bogart, in Bushwick. If we build it, will you come?

Here’s Matt’s friend Mark helping to de-‘alice in wonderland’ the performance space: