You are here

Regarding Female/Female Regards

Saturday, March 18th 2017

 

8PM-11PM

"Regarding Vaginas"
A collaborative, participatory performance art work by Rae Goodwin and Sophie Merrison.

"Abbey of Misrule"
(Kubik/Giera)

"MissDick Vibrocis"
Lorene Bouboushian (body in the room) + Jill Flanagan (sounds from afar)

TBA

EotW: Collaborations with "lolotrashbo" and "gantttt"

Monday, February 27th 2017

USER: "gantttt"
MODE OF ENAGEMENT: Collaboration
Location B2/2B: HOW SO (AS)(DIS)(EN)(RE)SEMBLATIVELY HOW SO? 

USER: "lolotrashbo"
MODE OF ENAGEMENT: Collaboration
Location 3B/B3: HOW SO AFFECTIONATELY/AFFECTIVELY HOW SO?

USER SCORES:

"gantttt"
B: How so operating?
2: semblatively 80%

This inquiry is re-sembling realities
Generating an operation producing knowledges
Using worldview-building methodologies
First, assemble constructive abilities

"lolotrashbo"
B: How so operating?
3: affectionately 80%

This inquiry is re-sembling realities
Generating an operation producing knowledges
Using de-conditioning methodologies
First, (de)liberating 'normal' states and situations

+++As part of opera-of-operations "Embarrassed of the Whole" Phase II:https://www.facebook.com/events/1814272978840146/
http://www.panoplylab.org/eotw
http://embarrassedofthewhole.tumblr.com/+++

Post-Dance Symposium

lo bil: https://youtu.be/FlZMij9igTs "Another Way to Organize the Archive"  Still from video documentation by Adriana Disman from the end of "The Clearing" an 11-hour performance installation that took place on November 1, 2014 as part of the 7a*11d International Festival of Performance Art. — with Lo Bil.
Thursday, November 17th 2016 to Sunday, November 20th 2016

POST-DANCE SYMPOSIUM, NYC 2016
November 17-20

Conceiving of bodilies both individuated and social as theoretical and practical resources, we collectively and individually approach ways in which culture be (re)claimed, (re)made, (re)formed, and (re)paired by humyns.

DEADLINE FOR PAPERS/SCORES/TEXTS (for simultaneous online publication: November 15, response texts/papers/scores, November 30)

***SYMPOSIUM SCHEDULE: ALL OPEN TO THE PUBLIC***

THURSDAY, NOV 17: DEPART

7pm-11pm: Performances by Mariana Valencia, Zavé Martohardjono, Ni’Ja Whitson, Shawn Escarciga
Matters: appropriation/sampling/mash-up/remix/etc: de-identification, ritual, rights/rites, cultural tradition + queer futurism
Problems: To whom, to what, and how does this body belong? How do we depart without detaching? How are we located in time and timing locating? How are we contextually situated and situating contexts? How are we culturally “framed” and framing “our own culture?”

FRIDAY, NOV 18: DECAY

6pm: warm-ups and public improvisation session
8pm-11pm: Performances by Lorene Bouboushian, Alex Romania, Kaia Gilje, QUEEFCORE
Matters: disgust/abject/substances and mess/emotional expression, hardcore existentialism and disciplinary decay, aesthetics, play, and practical methods for anti-dance-y dance
Problems: What becomes between improvisation and proposition? How do we communicate without using dominant codes and languages? How are we concrete and abstract, affected and affecting, able and unable?

SATURDAY, NOV 19: DESIRE/DESIGN

3pm-7pm: DESIRE
Matters: academia, institutions, and "success," alter-systems, space and species, mutualism, money and madness, desire and survival, de-materializing realities and re-modeling economies of attention
Problems: What are the pros and cons of capitulation, participation, and subjection? How are we navigating our motivations and emotions? How do we interface with and de-face power paradigms and hegemonic orders for value and survival?

3pm: panel discussion with Rebecca Ferrell, Jumatatu Poe, Andre Lepecki, Clarinda Mac Low, artists from the other days. 

7pm: warm-ups and physical shake-outs

8pm-11pm: DESIGN
Performances/Presentations by: Jessica Pretty, Charlie Maybee, Rebecca Ferrell, lo bil, Alexander D'Augostino and Noelle Tolbert
Matters: “choreography” and choreographed/choreographing bodilies, stagings and social arrangements, spectators/witnesses/audiences vs. participants vs. makers (role-playing), vessels, vehicles, and events
Problems: For whom do we make “dance” as such and why? What are the ethics of participatory modes? How do we make decisions and dare to anticipate, practice, and enforce con-sequences?

SUNDAY, NOV 20: DEMAND

4pm: Post-dance: A Primer 
Presented by: Lindsey Drury and No Collective (You Nakai, et al.)
Matters: “post-dance”
Problems: Is the term “post” a mere prefix to indicate we are over it? What is this “it” we are supposed to be over with? If we are over dance, why do we still cling to that old name? Wouldn’t “post-it” be a better name? And even if we stick to dance, can’t we do better than resorting yet again to the facile formula of [dance + x (e.g. performance art, discourse, theory, etc)] or [dance - x (e.g. choreography, dancer, etc)]? Do we even know what we seek to leave behind? What is a body? What is movement? What if “post” was a verb or a noun? Where do we go from here, where have we been, and who is this “we” that we all talk about? 

5pm: Presentation by yon Tande

7pm-11pm: Performances and presentations by Ilona Bito, LJ Leach, Brandon Fisette, yon Tande, Amanda Hunt
Matters: objectlessness/deontology, spectacle vs. situation, mindbody, theory and authority, anthrocenticity, and auto-ethnography
Problems: How are the affects and consequences of our movements? Who are we in time and context and how do our practices create, demand, and inform change? What are the demands of this demonstration, this public assembly, this strike against daily ongoing performativity?

Organized by Leili Huzaibah, Esther Neff, Rebecca Ferrell, Lindsey Drury, and participants.

Consequences Have Consequences: PHASE TWO/deployment

Saturday, January 9th 2016

PHASE TWO/deployment
PPL as performance platform
Saturday, January 9, 8 pm
Fire Drill gathers efficacious techniques in a shared evening of performance:
HONEY MCMONEY
LORENE BOUBOUSHIAN
KERRY COX

Consequences Have Consequences is a pseudo-empirical body of research focusing on specific, measurable outcomes of performance. What will it take for art to actually make people DO things? What kind of dance do we need to dance to make an audience member, e.g., burn down a Pizza Hut? The first case study in this series, which will be presented at Panoply Performance Laboratory in January 2016, begins with investigating physiological responses to performance, and develops strategies to undermine art’s obsession with its own weakness.

 

++++++++

Fire Drill is the collaboration of Emily Gastineau and Billy Mullaney. Based in Minneapolis, they create performance works that challenge contemporary modes of spectatorship and examine the effects of capitalism on the body. Their work has been curated at venues in Minneapolis, St. Paul, New York City, Portland, San Francisco, Oakland and Chicago. As part of an emerging touring network, they have also curated evenings of performance featuring artists from New York, Portland, Oakland, Seattle, and the Twin Cities. www.fire-drill.org

"If you want to know where the future of [performance] art is going, hang out with Emily and Billy. They are committed to investigation, and they won't stop. Thank you for testing the water, and rocking the boat, and never looking for a life-vest." [Minnesota Playlist]

The Brooklyn Experimental Song Revival

Tuesday, December 15th 2015

this past fall : the super coda & naked roots conducive hosted the first edition of the brooklyn experimental song carnival, featuring over 20 artists performing within & against the space between sound and narrative. there was catharsis. there was shock. there was gut-splitting beauty & probably grace.

december 15th : we continue the search for new organs, catharsis, some god-forsaken nexus, the proverbial ghost-in-the-machine. you know, songs & shit.

Natalia Steinbach
violinisms/eurydice
http://nataliasteinbach.com/

Alex Cohen/Michael F. Dailey Jr.
drums/AMA
http://www.alexcohendrums.com/live/
https://www.facebook.com/birdorgan

Julia Santoli
soundbodies/alchemy
http://juliasantoli.net/

Lynn Wright
folklore/desolation
https://www.facebook.com/andthewiremen/

Leah Coloff
celloscopes/dialectics
http://leahcoloff.com/

Lorene Bouboushian/Kaia Gilje/Valerie Kuehne
peanut butter/celine dion
https://www.youtube.com/watch?v=bmBzNDGqCNI

http://www.thesupercoda.com/

trauma salon : trama and traume

Monday, November 23rd 2015

life, in many ways, operates as an incomplete dream. unhinged memories; fragmented ideals. in case of insomnia; reverse nostalgia.
a body at rest is there for the taking, if you desire it. read the tibetan book of the dead before bed. in such a way, we endlessly dream.

CATFOX -
http://www.thecatfox.com/

Borts Minorts -
http://bortsminorts.tumblr.com/

channel 63 -
channel63 channel63.bandcamp.com

Valerie Kuehne presents : Horror Vacui
http://www.valeriekuehne.com/

Lorene Bouboushian
http://lorenebouboushian.wordpress.com

http://www.thesupercoda.com/
http://www.panoplylab.org/space

POST-DANCE 4x4

Saturday, December 13th 2014

dealings with architecture and dialectics materiality architecture theory the deconstructive, the constructive, the pathological, the parasitic, the downright political AND "my work is site-specific to your lower intestines" PLUS what is the structure of structures?

POST-DANCE WORKS BY:

Li/cata and Ciar/pella Alex Rodabaugh Millie Kapp Lorene Bouboushian/Kaia Gilje/Valerie Kuehne

Co-curated with Li Cata

The term "post-dance" belongs to Lindsey Drury, who gracefully lets us borrow it now and again.

******BIOS and LINKS********

Li Cata is a dance artist and arts organizer. Li loves cooperation, struggle, compromise, and conflict. Hell is no other people. http://cargocollective.com/licata

Alex Rodabaugh is a dancer, dance maker, and performer. Most recent work: www.g1br33l.info

Millie Kapp is a performance artist living and working in New York. She received her MA in Performance Studies from New York University and BA in Visual and Critical Studies from School of the Art Institute of Chicago. Kapp has presented her work in Oakland, Chicago, Minneapolis, Toronto, and New York and participated in artist residencies around the US. Kapp also teaches performance-based classes and workshops and has done visiting artist lectures at Maryland Institute College of the Arts, the University of Chicago and Stony Brook College. Though her performance work is primarily dance-based, her work crosses disciplines incorporating video, sculpture and text. Kapp is also a writer and curator and has curated performance events in Chicago and New York.

Lorene Bouboushian: "I was born to an Armenian father from Lebanon and a probably Irish mother from New Orleans in Corsicana, Texas. I lived near a pasture in a small house, and danced in studios and on a dance team, where I tied for Miss High Kick in 2005. I went to a wealthy liberal arts college in New York where everything about myself was thrown into relief. I studied with lots of wonderful people and made it to Ghana, where I spent hours on end at rituals, trying to figure out how life with possession, rhythm, and shared movement is. I came back to New York because the man on the subway whose nervous head tick, and the old Czech woman talking loudly about cancer on the phone hold a frenetic energy that fascinates me in a different way, and has for years. I still return to Texas and the sky and the flatness and the screwiness of rural life. I still remember Ghana. This range of moments make my work here. In my work, they collide with music that makes me tick, sounding and rhythm, intimacy and shock, absurdity and humor, and what it means to perform our silly, paltry, emotional selves (and perform others). These have led me to create solo works presented at the Judson Church, Ulla’s House, AUNTS, and the West End Theater. In 2011 I was the recipient of a Fresh Tracks Residency through New York Live Arts. More recently, I have become more interested in improvisation that suggests comedy and vaudevillian traditions while experimentally challenging what performance and improv are. This has led to performances at Panoply Performance Lab, Vaudeville Park, Grace Exhibition Space, Bizarre, the Delancey, Muchmore’s,Cage, and JACK (through the Brooklyn International Performance Art Festival). This research also contributes to my work as an independent teacher, through CLASSCLASSCLASS, La Universidad de Las Americas Puebla (Mexico), and with Wingspan Arts. All of my work has been informed by my experiences as a performer with luciana achugar, Melinda Ring, Kathy Westwater, Daria Fain, Lindsey Drury, and Panoply Performance Lab."

Kaia Gilje "We desire to break apart our selves, objects, situations, and movement into simple pieces in order to better see and feel existing and potential relationships. We also desire to join. As this happens we strain to listen to millions of buzzing, humming anythings and huge buzzings and hummings of nothings." (written with collaborator Paige Fredlund)

Valerie Kuehne is a cross-pollinated work of chaos. Fusing together music, performance art, narrative, and experimental curation, she has been told that, "if this music thing doesn’t work out, she’d probably make an awesome cult leader." (Boston Public Space). After moving to New York to study Philosophy at The New School, Ms. Kuehne has systematically bifurcated her time between touring the planet, performing in as many unexpected settings as possible, and building a community for experimental music and performance art in New York. Her series, The Super Coda, is an experimental cabaret that has united electrifying performers 5 years running. Ms. Kuehne’s work operates under principles of surprise, and investigates obsession, comedy, decay, forensic pathology, sex, hypnogogia, viscera, death. She created and composed for the ensemble Dream Zoo and is one third of the improvised music trio Prehistoric Horse and half of the duo Naked Roots Conducive. While she most frequently performs solo, she is an avid collaborator and has worked with many of NYC’s finest underground musicians and artists. She has spent much of the past year in collaboration with Natalia Barnatny Steinbach, and with Esther Neff and Brian McCorkle of the Panoply Performance Laboratory, percussionist David Grollman, accordionist and trapeze artist Matt Dallow, and grindcore violinist and incessant touring artist Joey Molinaro. She has curatorially joined forces on several occasions with PPL, IV Soldiers, composer and pianist Jonathan Wood Vincent, 109 Gallery, and the ongoing music and performance series Small Beast. In February 2012, she performed with outsider artist Jandek. There was once a time when she played cello for Billy Joel’s daughter. Ms. Kuehne performs "with a marathon persistence to rival B.B. King in his most energetic years" (New York Music Daily), She has been seen in venues such as Carnegie Hall, Webster Hall, Judson Memorial Church, Brigham Young University, the Stone, Highline Ballroom, the Berlin Zoologischer Garten, the NYC Subway. She has participated, as an artist and a curator, in international festivals such as the MPA-B, the experi-MENTAL festival, X-fest, the Boise Improvised and Creative Music Festival, the Sonic Circuits Festival of Experimental Music, and JazzPeru, Brooklyn International Performance Art Festival, to name a few. She is a curatorial fellow at PPL. http://www.valeriekuehne.com/

Pages

Subscribe to RSS - Lorene Bouboushian