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PERFORMANCY FORUM: Emergency Visibility (EV)

Saturday, July 19th 2014
Event Description: 

For PF: EV edition, 4 artists were solicited by an open call, which offered visibility of an ephemeral, almost private nature, and asked how artists perceive being seen and/or desire to be seen.

Posner, Dwyer, Berezney, and Dwyer proposed works dealing with sight, gaze, seeing and being seen through feminist, ontological, theoretical, situational, post-colonial, and other shifting and overlapping lenses. Join us for their four performances and a discussion forum afterwards.


TSEDAYE MAKONNEN "I want to understand why someone would go to such (toxic) lengths to change their appearance and also go beyond diagnosing this epidemic as self-hate. I want to touch on the juxtaposition between excessive vs. moderation, is this resurgence of skin lightening yet another reflection of excessive behavior we all exude in some form due to the cross-pollination of cultures, technology, accessibility, choice, individualism, etc"

JESSICA POSNER: 'BBP' "Caroline Shawk Brooks, an Arkansas farm wife and dairy maid, is credited by historian Pamela H. Simpson in her book Corn Palace and Butter Queens as creating the first widely recognized butter sculpture, "Dreaming Iolanthe," in 1876. In the 1970s, Barbara "Butter Queen" Cope rose to fame as a legendary groupie known for her use of butter as a lubricant--with songs written about her by The Rolling Stones, Led Zepplin, and others. Since 1954, Minnesota has been crowning Princess Kays of the Milky Ways. The main prize is being sculpted into a "butter head" at the Minnesota State Fair. Since 1928, Land O Lakes butter boxes have persistently featured an infinite loop of a racist, stereotypical image of a Native American woman holding a box of butter with an image of herself on a box of butter. As a medium, butter is made from milk from a breast and is ready for immediate consumption after churning: a bodily feedback loop produced through movement. Culturally, butter is wrapped in the performance of feminine sexuality, imagery, and labor. The BBP is a gesture towards identifying, deconstructing, and unraveling this. ",

PHILIP BEREZNEY: 'Not-dead-yet things' " I wonder why I keep making what seems like invisible work... when it will become visible... whether it is important (to me) that it does. The performance of these varied, cut, pieced-together materials describes their creation as it resurrects and re-configures their significance. In keeping alive, in making visible these near-dead essences, I can summon a pathos for the nearly cast-aside; I can celebrate the potential for truth and strength in uncertainty; I can begin to scratch the polish off of my own nails... I can question my sometimes-reluctance to release a grasp on formal paradigms."

DIANE DWYER: "AUDIENCE" "Originally I was interested in enacting an awareness of “performing” oneself in our increasingly mediated world. When are we performing? When are we aware of an audience? This piece was first performed alone, videotaped and placed on vimeo with no description."


$5-15 pay-what-you-can for the artists

Brooklyn Brewery see this!