You are here

Thursday, July 20th 2017
Event Description: 

JUST SITUATIONS: a performative convention

Day Five: Reading Conditions
What are the elements of “a situation”? How do we inscribe, read into, interpret, and mark our world(s)? Abstraction, social magnetics, communication, (con)text, and forms of semiotic transparency perform “reads” of our conditions, backgrounds, ethics, identities, and ideals.

Ayana Evans
IV Castellanos
Adjua Gargi Nzinga Greaves
Nicole Goodwin
Danielle Abrams


Danielle Abrams’ performances react to the social tensions that shape her experiences as a biracial lesbian. Her performances blend scripted and improvised language, and public encounters that rely on engaged participation. She adopts contradictory personae that are also autobiographical, and animates the ambivalent relationships between racial and ethnic groups. Her menagerie of personifications stage humorous encounters while reimagining the cultural narratives of art history, civil rights, and popular culture. 

Danielle Abrams has performed at Museum of Fine Arts (Boston), Detroit Institute of the Arts, Institute of Contemporary Art (Boston) Bronx Museum of the Arts, Roger Smith Hotel (NY), The Jewish Museum (NY), Queens Museum, Santa Barbara Contemporary Arts Forum, WOW Performance Cafe, and The Kitchen. Abrams has received grants from The New York Foundation of the Arts, Urban Arts Initiative, and the Franklin Furnace Performance Art Fund. She is a Professor of Practice in Performance at School of the Museum of Fine Arts at Tufts University.


IV Castellanos is an abstract performance artist and sculptor based in Brooklyn, NY. They have performed at the Queens Museum, Gruentaler9 (Berlin), DFBRL8R (Chicago), Grace Exhibiton Space, IV Soldiers, Dixon Place, PPL, Gallery Sensei and Rosekill (Kingston, NY). They founded the F.A.G. (Feminist Art Group), 2016 with co-founder Esther Neff, which has alternating performers. 

IV will perform a piece called: Brick x Brick v 


My art explores the intricacies of my life as a social and culturally diverse being.

My ideas are my artwork and vice versa, they collaborate in acknowledging, collecting and creating evidence of my ‘self’, which is often registered to socio-political history matters; presented as critical or banal queries. I am fueled by the significances and the thrills of finding these limitless (re) discoveries, ideas and possibilities, that (re) visit traces of where I have or never been…

Previously manifested through painting/mixed media installations, my art has shifted to include video projects of a relational performance arts practice, in which my presence in a public space, particularly art spaces/events creates communal experience. How I am socially viewed and understood by the “audience” is the heart of this work. I remain concerned with the visual of each piece. Thus, I purposefully integrate performance with bright colors via items such as a neon body suit or a hot pink gown. 

The other central expression of my art-making is fashion design. I run a handbag label that allows for the commercial exploration of color, sculpture, and wearable art.

These series of arts-making are my continuous and direct attempt for productive personal, human relations examinations. I hope to claim these types of honest, microscopic observations and dialogues amongst viewers.




Adjua Gargi Nzinga Greaves (New York City, 1980) is an artist chiefly concerned with postcolonial ethnobotany working in the mediums of scholarship, diorama, corporeal wisdom, archival gesture, and language.