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EotW: Presenting As "aliftig" and "elizabethalamb"

Monday, February 6th 2017

USER: "aliftig"
MODE OF ENGAGEMENT: Usership translated and interpreted by PPL into Presentation
Location 3B/B3: HOW SO AFFECTIONATELY/AFFECTIVELY HOW SO?

USER: "elizabethalamb"
MODE OF ENAGEMENT: Usership translated and interpreted by PPL into Presentation
Location 1C/C1: HOW (DE)LIBERATELY HOW TO ARTICULATE AFFECT(S) HOW?
***form of this performance will be a scored "roundtable discussion/thinktank session"***

USER SCORES:

"aliftig"
B: How so operating?
3: affectionately 70%

This inquiry is re-sembling realities
Generating an operation staging systems
By developing surveillance methodologies
First, (de)liberating an array of (de)liberate matters

"elizabethalamb"
C: Operating to what affect?
1: deliberately 50%

This is an inquiry into cause
Intending and interpreting affected matters based on intention
Using forms defined by their intended use
First, (de)liberate current conditions

+++

As part of opera-of-operations "Embarrassed of the Whole" Phase II:https://www.facebook.com/events/1705386496438467/
http://www.panoplylab.org/eotw

PERformancyFORum: assignment

Saturday, September 24th 2016

 

 

ALI ASGAR

http://aliasgarart.com/

 

ANYA LIFTIG

https://en.wikipedia.org/wiki/Anya_Liftig

 

FRANCHESKA ALCANTARA

http://francheskaalcantara.com/

 

JENNA KLINE

https://jelliebeers.com/

 

 

-----about the artists----

 

Jenna Kline: "
Beatrice

 

In the jewish tradition, a Yahrzeit Candle is burned for 24 hours to commemorate a death.  Yahrzeit in Yiddish means, “time of year”.  I'm expanding on this tradition by partaking in a physical ritual to honor the departed.

In this piece, I will transform into a physical memorial to honor my grandmother, Beatrice Klein.  Beatrice was a semi-traditional Jewish grandma who loved getting her hair and nails done.  She hated cooking,  loved to read and always had corn muffins in stock.   Her sass was unparalleled.

She was an avid shopper and had no shortage of brightly colored blouses, chambre tops and dungaree bottoms.  When she passed away my parents were left with the daunting task of sorting through her personal belongings.  Costume jewelry, including broaches, clip on earring and loose crystals (my grandpa used to make jewelry).  Stockings and tights that were so ancient and corroded that they crumbled to the touch (still in the their original packaging). Canvas shoes, ceramic cats and close to 100 camisoles.  Ivory, black, red, royal blue, floral, lace, sheer and all delicate and feminine.  For some reason, they appealed to me and I took most of them and the remainder was donated.  I rarely wore them, but could never part with them.  (I'm a collector).

I will create a sculptural and spoken narrative by weaving together fragments of memories, photos, her personal items and Entenmann's corn muffins.  By surrounding myself with her essence, I will become a spirit objet, a totem, a physical embodiment of her spirit.

I will invite the audience to participate and also remember loved ones who are no longer with us.
"

 

Francheska Alcantara: "I am interested in investigating memories of my childhood through objects/things that were part of my household or that I saw my grandmother using all the time. I guess it is a response to the physical state of being, a connection to “the real” world and introspection into the innate knowledge of my body."

 

Anya Liftig's work has been featured at TATE Modern, MOMA, CPR, Highways Performance Space, Lapsody4 Finland, Fado Toronto, Performance Art Institute-San Francisco, Atlanta Contemporary Art Center, The Kitchen at the Independent Art Fair, Performer Stammtisch Berlin, OVADA, Joyce Soho and many other venues. In “The Anxiety of Influence” she dressed exactly like Marina Abramovic and sat across from her all day during “The Artist is Present” exhibition. Her work has been published and written about in The New York Times Magazine, BOMB, The Wall Street Journal, Vogue Italia, Next Magazine, Now and Then, Stay Thirsty, New York Magazine, Gothamist, Jezebel, Hyperallergic, Bad at Sports, The Other Journal, and many others. She is a graduate of Yale University and Georgia State University and has received grant and residency support from The MacDowell Colony, Yaddo, Atlantic Center for the Arts, The New Museum, Mertz Gilmore Foundation, Flux Projects, University of Antioquia and Casa Tres Patios-Medellin, Colombia.

 

Ali Asgar is a visual and performance artist from Bangladesh. Ali is working as a freelance artist for last few years in Bangladesh and moving forward with his work concentrated on the issue of gender minority and queer identity. Through his performances and other visual narratives Ali is constantly trying to pushing the gender norms of the country and making spaces to talk about this issues in a public forum. Asgar's work has been exhibited in Bangladesh and abroad and supported by institutes like Goethe institute , Edward M.Kennedy Centre, Bengal Foundation, Samdani Art Foundation, US State Department, Institute of International Education (IIE), Mellon Foundation and many more. Ali is now working as a Andrew W. Mellon Foundation fellow at the University of Maine, provided by Institute of International Education. This fellowship popularly known as Artist Protection Fund. Ali's current projects and works are politically motivated and emphasised on dislocation, body politics and queer identity. About his work Ali says "My work talks about my struggle of being a minority community member in Bangladesh. I believe my work doesn't only talks about my struggle and journey as a Bangladeshi LGBT community member but its also reflects the life of the sexual minority community in Bangladesh."

PERFORMANCY FORUM: Sympathetic Mimesis

Thursday, March 3rd 2016

Joern Burmester (http://www.joernburmester.de/)
Marcelline Mandeng (http://mandengarchives.tk/)
Heeran Lee (http://heeranlee.com/home.html)
Zhenesse Heinemann (http://www.zhenesse.com/)
Anya Liftig (http://anyaliftig.com/)

does an effect resemble what it causes or what has caused it / is this body like any other bodies / will your sympathy do a damn thing for me or mine for you / do objects and subjects, having been in contact with each other, continue to react upon one another / am i a contagion / does this remind you of anything / watch my face closely / look into my eyes / am i feeling you or is this a representation of somewhere else / are you somewhere else or are you in me already / ...?

pay-what-you-can $5-20 for the artists and their travel to nyc
www.performancyforum.com

Bushwick Open Studios: PERFORMANCY FORUM: CACHE IN

Saturday, June 6th 2015 to Sunday, June 7th 2015

PPL Space is a Bushwick Open Studios Info Hub ("B") see map HERE. We will be hosting a two-day exhibition, 1pm-8pm both days. 

CACHE is value given to something, something that deserves to be hoarded or mediated due to its high desirability. "Cache" synonyms include: hideout, hoardings, repository, stash, stockpile, wealth, accumulations, heirlooms, treasures, wealth, assets, kittys, supplies, treasury, drop joint, hiding place.  

ARTISTS: Ivy Castellanos, Anya Liftig, Ayana Evans, Edward G Sharp, Geraldo Mercado, PPL, tozz buttz, Ultras, Batya Goldberg, Felix Morelo.  

THIS IS A DAYTIME EXHIBITION OF INSTALLATIONS, VIDEO, DURATIONAL ACTION, SCULPTURE, BOOKS + MORE. FREE TO ENTER, DRINKS FOR SUGGESTED DONATION, BATHROOM, BOS MAPS + INFO AVAILABLE.

Twin High Maintenance Machines - Anya Liftig Solo Show at PPL

Saturday, May 3rd 2014

Anya Liftig will be showing an evening full of new live performance work at Brooklyn's Panoply Performance Lab. Stay tuned for details. http://anyaliftig.com/ Anya Liftig’s work has been featured at TATE Modern, Highways Performance Space, Exit Art, [performance space] london, Performmer Stammtisch Berlin, Dimanche Rouge Paris, Roves and Roams and OVADA Oxford UK, Chashama, Month of Performance Art Berlin, Eyedrum, Grace Exhibition Space, Atlanta Contemporary Art Center, Galapagos, The Flea, Performance Art Institute–San Francisco, Chez Bushwick, Socrates Sculpture Park, Yale University, Center for Performance Research, Lock Up Performance Art London, Debrillator Gallery, INCUBATEChicago, University of Wisconsin, University of Chicago, Vaudeville Park, Mess Hall, Joyce Soho and many other venues. Her work, “The Anxiety of Influence,” was an intervention into Marina Abramovic’s “The Artist is Present” retrospective at MOMA. Liftig dressed as the elder artist and sat across from her all day.Her work has been published and written about in The New York Times Magazine, Bomb, The Wall Street Journal, Vogue Italia, Marie Claire Italia, Heeb, Public Culture, Art Papers, X-tra, ArtNews, The L Magazine, The Other Journal, Jewcy, Mix Magazine, Katalog, Next Magazine, Now and Then, Stay Thirsty, New York Magazine, Gothamist, Jezebel, Animal New York, I Love You, Art Animal, Hyperallergic, Burnaway 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, The Field, Vermont Studio Center, University of Antioquia, Casa Tres Patios-Medellin, Colombia, and Flux Projects, Atlanta.

LEARNING CURVES #1

Thursday, April 10th 2014

Join us for LEARNING CURVES #1--a screening of performance videos followed by a group discussion about learning, teaching, doing, and forgetting performance.

Texas-based artist Heather Warren-Crow has curated a video-conversation of short works by her, former students (currently, NY-based artists) Dayna Moses and Kate Brandt, and compatriot Anya Liftig.

After the screening, we invite the audience to talk about performance:

Where, how, and why do we learn to perform? How has the Internet changed the way we find and kill our historical idols? We encourage you to add your own text to a list of art "teachers" that will later be printed on custom candy as part of Heather's project Eat Your Idle.

Heather Warren-Crow is an artist and writer based in West Texas. Specializing in live and pre-recorded performance, Warren-Crow has exhibited her artwork in Argentina, Brazil, Colombia, El Salvador, India, Japan, Mexico, Tanzania, Trinidad and Tobago, and across Europe and the United States. Most recently, she presented video art at Galerie Chartier in Connecticut (US) and sound art at Beton 7 in Athens (Greece), Bronxartspace in New York (US), and the Exchange Gallery in Penzance (UK). She has a PhD in Performance Studies from the University of California at Berkeley.

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