PERformancyFORum: assignment

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.
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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."

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