Lorene Bouboushian

METAMORPHOSIS

November 16, 17, 18, 2018

Panoply Performance Laboratory/IV Soldiers
104 Meserole Street
Brooklyn, NY 11206

ARTISTS: Lorene Bouboushian, IV Castellanos, Dominique Duroseau, Shawn Escarciga, Ayana Evans, Kanene Ayo Holder, Amanda Hunt, Maria Hupfield, Anja Ibsch, Honey Jernquist, Miao Jiaxin, Anya Liftig, Jodie Lyn-Kee-Chow, Geraldo Mercado, PPL, Rafael Sanchez, Julia Santoli, Edward G. Sharp
 

104 MESEROLE STREET has been Panoply Performance Laboratory (PPL)” organized by the collective of the same name since 2012. As of January 1, 2019, the site will be renamed “IV Soldiers,” organized by IV Castellanos and Amanda Hunt.

Under the name PPL, the site has operated as a laboratory for the performance art communities of Brooklyn and beyond, home to hundreds of events, gatherings, meetings, exhibitions, thinktanking sessions, projects, and performances. METAMORPHOSIS celebrates the movement mentalities and states of constant adaptation and (intra)relationality that (in)form our practices and projects, culminating 7+ years of work by artists with practices centralizing liveness, presence, and social situation/interaction and activation.

FRIDAY, NOVEMBER 16

7pm:
Jodie Lyn-Kee-Chow and Kanene Ayo Holder
Shawn Escarciga
Anya Liftig
Miao Jiaxin

SATURDAY, NOVEMBER 17

4pm: COMMUNITY MEETING

6pm: performances begin:
Honey Jernquist
Anja Ibsch 
Dominique Duroseau
Geraldo Mercado
Ayana Evans
IV Castellanos and Amanda Hunt

SUNDAY, NOVEMBER 18

4pm:
Rafael Sanchez
Lorene Bouboushian
Maria Hupfield
3dwardsharp
Julia Santoli
PPL

ABOUT THE ARTISTS:

JODIE LYN-KEE-CHOW AND KANENE AYO HOLDER

According to Brooklyn Historical Society there are currently 83 Brooklyn streets named after slavemasters (of which Meserole Street is one.)
Jodie and Kanene’s project, Joncanooaacome at the Crossroads deals with gentrification and lost traditions of Africans in the Americas. During this public performance, the artists will perform ritualistic dances while inviting participants to tell their Brooklyn street addresses and shred clothing that they’ve brought while incorporating our materials to complete their own Junkanoo costumes. http://www.culturepush.org/2018-spring-fellow-kanene-holder-jodie-lynkeechow/

Kanene Ayo Holder (b. Brooklyn) is an award winning educator, activist, satirist and performance artist based in Harlem. Holder works with interactive street theater and performances to encourage discussion about social issues. Her satire Searching for American Justice: The Pursuit of Happiness which highlights the ineffective systems that benefit the 1% and continue to put #profitoverpeople was covered by the New York Times and Village Voice. Holder has performed at various venues including Brooklyn Museum (2011), The New York International Fringe Festival (2005), La Mama ETC (2008), Aaron Davis Hall (2009), Symphony Space (2003), University of Granada in Spain (2009), QMAD Festival (2012), and NYU Low Lives Festival (2012). She recently received a fellowship from Yale’s Thread program for non-fiction storytelling . Holder is also a recipient of grants including from Lower Manhattan Cultural Council (2006), Franklin Furnace (2007) and NYFA/UAI (2005) and was a finalist for Creative Capital in 2012 to support her artistic practice. Holder blogs for the Huffington Post and has contributed political commentary on CNN and BBC, among others. Holder also lectures on race, media, literacy, art history and African Diasporic history at various institutions including Studio Museum of Harlem, Museum of Art and Design, Columbia University and NYU. Holder received her B.S. in Speech Pathology from Howard University and research fellowships from the National Endowment for the Humanities (2009 and 2016), The Colin Powell Center for Policy Study (2008) and Bard College (2010). She received her M.S.Ed in Childhood Education from City College. Holder is a recent recipient of a Innovative Cultural Advocacy Fellowship from the Caribbean Cultural Center African Diaspora Institute while becoming the Art Department Chair at Broome Street Academy High School. At BSA she supervises art teachers and oversees internships, a talent show and trips for over 300 underprivileged and LGBTQA youth, emphasizing creativity and critical thinking. https://sitchaassdown.com/

Jodie Lyn-Kee-Chow (b. Manchester, Jamaica) holds a BFA with honors in Painting from New World School of the Arts, University of Florida, (1996) and an MFA in Combined Media from Hunter College, CUNY (2006). Lyn-Kee-Chow often explores performance and installation art drawing from the nostalgia of her homeland, the commodified imagery of Caribbean primitivism, folklore, fantasy, consumerism, spirituality and nature’s ephemerality. Exhibitions of note include “Queens International 4”, Queens Museum of Art, NY (2009), “10th Open Performance Art Festival”, Beijing, China (2009), “Guangzhou Live 5”, Guangzhou, China (2014), “Jamaican Pulse: Art and Politics from Jamaica and the Diaspora”, Royal West Academy of England, Bristol, U.K. (2016), a special project commission at “Jamaica Biennial”, The National Gallery of Jamaica, Kingston, J.A. (2017), and Live Action 12 Performance Art Festival in Gothenburg, Sweden (2017). Solo exhibitions include Rush Arts Gallery (2008), New York, N.Y. and Boston Children’s Museum (2015), Boston, M.A. Her work has also been exhibited at Exit Art, New York, N.Y, Amelie A. Wallace Gallery at S.U.N.Y. Old Westbury, N.Y.,  MoCADA (Museum of Contemporary African Diasporan Arts), Brooklyn, N.Y., Grace Exhibition Space, Brooklyn, N.Y., Lehmann Maupin, New York, N.Y., and Art Museum of the Americas, Washington, D.C. Lyn-Kee-Chow’s work has garnered the following; NYFA (New York Foundation for the Arts) Fellowship Award in Interdisciplinary Art (2012), Rema Hort Mann ACE (Artist in Community Engagement) Award (2017), Franklin Furnace Fund (2017-18), and Culture Push’s Fellowship for Utopian Practice (2018). Her work has been reviewed in publications such as The New York Times, The Huffington Post, The Washington Diplomat, Daily Serving, Hyperallergic, Artinfo, The New York Art World, Super Selected, and Newsday.  She also lives and works in Queens, N.Y. https://www.jodielynkeechow.com/

SHAWN ESCARCIGA

Shawn Escarciga (Brooklyn, NY) is an “experimental” “performance” “artist” whose work is steeped in Butoh and the creation of new movement paradigms, particularly around their deep capacity to feel things and the queer body. Their work has been shown throughout New York City (Panoply Performance Lab, Glasshouse ArtLifeLab [Performeando], Queens Museum [LiveArt.us], MIX NYC, Triskelion, Grace Exhibition Space, Chinatown Soup [Performance Anxiety], The Clemente, Real Estate Fine Art), domestically (Boston, Chicago, Lexington, New Orleans, Miami, Fayetteville), and abroad (Berlin and London). They think a lot about classism, queer visibility, how to light patriarchal structures on fire effectively, intimacy amongst faggots, and what it would be like to live in a country that supports non-commercial artists which might look something like eating a 2000 calorie diet regularly and owning a Shiba. www.shawnescarciga.com/

ANYA LIFTIG

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, Virginia Center for the Creative Arts, Atlantic Center for the Arts, The New Museum, Mertz Gilmore Foundation, Flux Projects, University of Antioquia and Casa Tres Patios-Medellin, Colombia.  www.anyaliftig.com/

MIAO JIAXIN

Beginning in Shanghai, where his photography works expressed the universal theme of urban angst, Miao Jiaxin then immigrated to New York, expanding his view of urban streets towards a more conceptual public stage. Among his performative practices across different media, Miao has blended his naked body into the bleak streets of a midnight New York City, traveled inside a suitcase hauled by his mother through urban crowds, made live-feed erotic performances on an interactive pornographic broadcasting website, and dressed as a Chinese businessman for an entire year when working towards his MFA at School of the Art Institute of Chicago. More lately, he converted his New York studio into a jail and charged $1 per night as accommodation on Airbnb and Facebook. Miao's works often express the ambivalent and sometimes antagonistic tension that always exists between the individual and governing or cultural authorities, questioning assumptions about power in relation to identity politics. He posits the artist's nature as one who transgresses boundaries, challenges consensus, and stays distance from authorities. www.miaojiaxin.com/pageviewer.html

HONEY JERNQUIST

www.honeymcmoney.com

ANJA IBSCH 

Anja Ibsch (Berlin), born in 1968, has been actively working as an artist and curator in the areas of performance and installation since 1993. Currently based in Berlin, she creates intense works that explore personal, cultural and social aspects of human presence while researching the endurance and tolerance levels of her body. Frequently inspired by myths of sainthood, sacrifice and release, her work emphasizes and extends connections between her body and the earth. Her varied actions have included eating dust, offering the surface of her skin as a nesting ground for worms, and melting ice on her eyes. She has performed primarily in Europe, Asia and Canada and South America.

In her work, Anja Ibsch characteristically tests her bodily limits, creating images that combine conceptual concerns with tasks of endurance or physical strength. For the audience, these images work to transform the way we view or understand the performer's physical identity. At the same time, the works engage the performer in a changing perception of her relationship to the world around her. Ibsch creates her work in response to the circumstances that present themselves, adapting to local environments and situations. https://anja-ibsch.jimdo.com

DOMINIQUE DUROSEAU

Statement from the artist: “I create narratives. I document, cross-examine, create cultural hybridizations. I de-contextualize/re-contextualize texts, topics, and issues on Black Culture’s constant striving within today’s society. I work within the cusp of her cultures as Haitian, American, and African Diaspora, then link unresolved issues across time as a political strategy.  This takes into account the nuances of language and mannerisms, while illuminating social issues and injustice; depicting contemporary struggles against indifference, coded vernacular, and entrenched economic dispositions. The issues addressed in my works may at first seem outdated and irrelevant, but instead have actually remained persistent, and morphed. The work folds in residuals of colonial influence, women's issues, and criticism of imperialist white-supremacist patriarchal cultures.” www.dominiqueduroseau.com/

GERALDO MERCADO

Geraldo Mercado is a Brooklyn based Performance and multimedia artist. Born in Yauco, Puerto Rico and raised in Westfield, Massachusetts; Geraldo moved to New York City in 2008 to work as the Video Production Manager at Exit Art, a pioneering Manhattan Art Space that closed its doors in 2012 after thirty years. Having complete access to their digital archives introduced him to the world of performance art. Since then, Geraldo has performed nearly non-stop.

As a performance artist Geraldo creates kinetic pieces of art using his body. A good artist uses all of the tools at their disposal, and having been born with a high tolerance for pain, he pushes his body to the limit as a means of exploring identity, empathy, and the cultivation of understanding. His aesthetic is punk rock in its ethos and in the way that he incorporates music, dance, theatricality, and storytelling while not being trained in any of those disciplines at all. Geraldo aims to tell stories with his body and reveal the underlying machinations of performance art as a medium.

Geraldo is a member of the Social Health Performance Club, a loose collective of artists creating performative works that directly confront systematic social issues. In 2013 Geraldo was one of the artists-in-residence at Animamus Art Salon: A Living Gallery London. In 2014 his non-narrative short film “The Land Scape” was a part of El Museo Del Barrio’s retrospective show “MUSEUM STARTER KIT: Open With Care”. Geraldo’s first solo show In The Universes Where I Died took place in 2015 at Gallery Sensei in Chinatown, New York in conjunction with Animamus Art Salon. His second solo show…And What Will We Do When We Get There was held at cloyingPARLOR in 2016. Geraldo holds a Bachelors of Science in Communications Media with a concentration on Directing for Film from Fitchburg State University. geraldomercado.com/

AYANA EVANS

Ayana Evans is a NYC based artist. She frequently visits her hometown of Chicago whose Midwestern reputation is a major influence on her art. Evans received her MFA in painting from the Tyler School of Art at Temple University and her BA in Visual Arts from Brown University.  She has attended the Skowhegan School of Painting & Sculpture and the Vermont Studio Center.  In 2015 she received the Jerome Foundation's Theater and Travel & Study Grant for artistic research abroad. During Summer 2016 Evans completed her installment of the residency, "Back in Five Minutes" at El Museo Del Barrio in NYC. She completed a series this Summer 2017 "A Person of the Crowd" at the Barnes Foundation, Philadelphia, PA; as well as FAIP an international performance festival, Martinique; "Light Happenings II" presented by Lab Bodies, Baltimore, MD; and Rapid Pulse Retrospective, Chicago, IL. Evans also performed at Ghana'a Chale Wote festival in August 2017.

Evans’s on-going performances/public interventions include: "Operation Catsuit" and "I Just Came Here to Find a Husband." She has curated and co-curated performance art shows throughout the U.S and worked in arts education for a decade. She is Editor at Large for www.cultbytes.com.  Her recent press includes articles on New York Magazine's The Cut, Hyperallergic, the Huffington Post,  gallerygurls.net and CNN. www.ayanaevans.com/

IV CASTELLANOS AND AMANDA HUNT

Amanda Hunt is a Brooklyn based performing artist. Amanda has performed solo work at Judson Church, AUNTS, Panoply Performance Laboratory, Larkin Arts (Harrisonburg, VA), Segundo Piso (Puebla, MX), and Open Engagement at the Oakland Museum. Hunt has attended the Old Furnace Artist Residency (Harrisonburg, VA) and has worked with Kira Alker + Elke Luyten, Sam Kim, IV Castellanos, and De Facto Dance, and Kathy Westwater (2013 - present).

IV Castellanos is an abstract performance artist who has performed at the Queens Museum, Gallery Sensei, dfbrl8r (Chicago), Gruentaler9 (Berlin), and Grace Exhibition Space. Castellanos and Hunt performed their newest work 04.14-15.17, "SurForm i & ii", as a part of Work Up at Gibney Dance Center. They have been on the curatorial committee and performed regularly at Panoply Performance Laboratory 2017 and past.

As a duo, the artists IV Castellanos and Amanda Hunt explore the continuous catching and falling of one another’s bodies, and through this idea that takes many aesthetic forms, aim to define arrival as reciprocity. This work of jumping, catching, holding, climbing, falling and/or dropping, and dragging one another on repeat, is juxtaposed with task based labor driven work. Using moulds of utilitarian objects (hammers, saw blades, deformed objects) casts from plaster, the work aims to render the execution of “simple” and “everyday” tasks, just as hammering or cutting, as possibly without goal and possibly other(ed). The artists wear work suits and work boots, both for the proposition of viewing functionality and ordinary-ness as art and as a nod to the long history of Queer folx that have worn these outfits before them. We are very Queer and non Cisgender-men which all aspects of the work, non-negotiably, exudes. Our work sets the stage for the Queer and Feminist utopia we'd like to live in and would like to invite you into. The set choreography is built on the idea that holding and being held requires different (and often metaphorically overlapping) skill sets/strengths, which is why we consciously choreograph each performer doing many types of both holding and catching. An equal distribution of labor gestured by different bodies. www.ivcastellanos.com/iv-castellanos-amanda-hunt/

RAFAEL SANCHEZ

Rafael Sanchez (b. Newark, New Jersey, 1978) is a performance artist who often takes his work to the streets and other unconventional spaces. In his performances, Sanchez frequently subjects his body to extreme stress and pain to materialize ideas of memory, spirituality and endurance. In an early work titled Back to Africa (2000), Sanchez wandered around New Jersey in white face, carrying a suitcase and waiting for a bus that never arrived. In 2007, for Calienté/Frio, the artist traced the migration process of two women from Cuba to America during the 1960s. Sanchez has been deeply influential on performance art in the NJ/NYC metro area, from the days of Exit Art and English Kills Gallery through the days of Brooklyn International Performance Art Festival, Grace Exhibition Space, and up through the present. He lives in Newark with his wife and young daughter and works as a teacher and counselor at a local High School.

LORENE BOUBOUSHIAN

Lorene Bouboushian works within dance, experimental music/noise, and performance art. They build a rhizomatic practice through visible forays into performances and workshopping, and less visible forays into writing, dialogue, modes of care and support, and resource sharing. They utilize "self-exposure and vulnerability in real, risky ways" [CultureBot, 2011], and produce “thought-provoking commentary on social limits” [Minneapolis Star Tribune, 2016].

They have shared their work in galleries and theaters in Seattle, Madison, Athens, and Beirut, performing in festivals including New Genre Festival (Tulsa), Miami Performance International Festival, QueerNY and Queer Zagreb, Inverse Performance Art Festival, and Month of Performance Art-Berlin. They have shared their interdisciplinary teaching practice at universities in Kentucky, Beirut, and Mexico.

They have collaborated with Forced Into Femininity (as missdick vibrocis), Kaia Gilje, Lindsey Drury, Matthew D. Gantt, Valerie Kuehne, and Panoply Performance Lab, and performed for Yoshiko Chuma, Yvonne Meier, Melinda Ring, luciana achugar, Daria Fain, and Kathy Westwater. They are a former member of NYC based collectives XHOIR (organized by Colin Self), Feminist Art Group (organized by IV Castellanos), and Social Health Performance Club.

They are currently in process as a dancer with Jill Sigman/Thinkdance, working with a think-tank through 9 PROPOSITIONS (Panoply), and a member of the Civic Reflex cohort (also Panoply). https://lorenebouboushian.org/

MARIA HUPFIELD

Based in Brooklyn New York, Maria Hupfield is a member of the Anishinaabek Nation from Wasauksing First Nation, Ontario, Canada. Her first major institutional solo exhibit The One Who Keeps on Giving, is currently traveling and is a production of The Power Plant Contemporary Art Gallery, Toronto in partnership with Southern Alberta Art Gallery, Lethbridge; Galerie de l’UQAM, Montréal; Mount Saint Vincent University Art Gallery, Halifax; and Canadian Cultural Centre, Paris. She is a current Triangle Artist in Resident 2018, the first Indigenous Fellow at the International Studio and Curatorial Program, ISCP in New York 2018 and finishing a residency with Native Art Department International at DTA/FABnyc in the Lower East Side.

Together with her husband artist Jason Lujan, Hupfield co-owns Native Art Department International based out of China Town New York, a project focused on presenting artwork by artists with demonstrated ongoing commitment to Native American communities alongside and on par with international artists. Hupfield also sings with  Nishnaabekwewag Negamonid a three-member Anishinaabe women’s hand drumming group based in Brooklyn, NY committed to language and cultural revitalization, using song to disrupt colonial spaces and speak to prior, persisting Indigenous presences. The group was born as part of an Anti-Columbus Day action in the American Museum of Natural History in 2016 and 2017.

Like her late mother and settler accomplice father, Hupfield is an advocate of Anishinaabek Womanism, Indigenous Feminisms, Accomplice building and Activism.

Maria Hupfield is represented by Galerie Hugues Charbonneau, Montreal Quebec Canada. https://mariahupfield.wordpress.com/

3DWARDSHARP

ohai, i'm 3dwardsharp. can we listen/talk/dance together? like, IRL? 

«…» 
SELECTED SUBSTANTIVEZ: 
a fucked-up scan from the back-section of a willa cather novel, um, literally, umm, as aesthetic codex that we could {un}pack, now or later or never. i mean, maybe it already happened, i looked again, and saw something else. 
IF YOU ARE READING THIS: then my performance has already started. a small gesture wedged in-between. 

in this performance @104 meserole i'm trying to see you more clearly but visibility is low. however, intentional, it, be.
NO PAIN, BABY, NO GAIN [let's get physical]

http://futuredeath.agency 

http://edwardsharp.com

JULIA SANTOLI

Julia Santoli is a multi-media artist based in New York. Her work synthesizes image, gesture, and sound while navigating memory and presence—how past experience manifests in the present as ruins, and how these traces transform through mediation to/from the body within the ghost-nature of sound. Her explorations take the form of vocal performance and body-generated audio feedback, sonic installation, video, and prints. She completed her BFA from the School of Visual Arts (Visual and Critical Studies), and has presented performative and visual work throughout New York. http://juliasantoli.net/

PPL (Panoply Performance Laboratory)

PPL the collective’s current configuration is lead by Esther Neff with Brian McCorkle, Kaia Gilje and many others. Working across spheres of visual arts, dance, theater, music, and cultural activism to research (e)motion and social movement, mentalities, forms of collective ideation, and modes of organization, PPL makes “operas of operations,” performance art, installation, tours, and social projects. Past and ongoing projects including Embarrassed of the Whole (EotW), Any Size Mirror is a Dictator (with Lindsey Drury), NATURE FETISH, and The Transformational Grammar of the Institutional Glorybowl I, II, & III have been performed at LMCC (14 Wall St.), chashama (42nd St, 37th St, Harlem site), Danspace, ISSUE Project Room, Dixon Place, Grace Exhibition Space, and ABC No Rio to name a few places in NYC, and across the USA (D.C, Boston, Pittsburgh, Chicago, Milwaukee, Kansas City, Tulsa, Toledo, Columbus, Lexington, Detroit, etc) and in Berlin, Copenhagen, London, and elsewhere. PPL has also released recordings through Gold Bolus and organized conferences, exhibitions, and events all over the world.

www.panoplylab.org

"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)

LJ Leach + Kaia Gilje

PERFORMANCY FORUM: CIVIC REFLEX/ REFLEJO CÍVICO

Public performances/presentations Saturdays:
April 21, May 26, September 29, October 20, November 10, 2018 all at 8pm
FREE & Open to the Public

@ Panoply Performance Laboratory
104 Meserole Street
Brooklyn, NY 11206

PERFORMANCY FORUM: CIVIC REFLEX is a collective performance/social art project involving: 1) the formation of a self-reflexive collective of 20 artists/groups 2) a series of 5 public forum events and 3) an online blog substantiating and framing “civic” “civil” and “reflexive” performance practices and performative theoretics (http://reflejocivico.civicreflex.us/).

PERFORMANCY FORUM: REFLEJO CÍVICO es un colectivo de arte social y performance que consiste en: 1) la creación de un colectivo de 20 artistas/grupos que se comporte de manera auto-reflexiva 2) una serie de 5 eventos/foros abiertos al público 3) un blog online dedicado a proveer contexto y enmarcar teóricamente prácticas de arte performático, civil, cívico y auto-reflexivo (http://reflejocivico.civicreflex.us/).

The 20 artists/groups forming the CIVIC REFLEX/REFLEJO CIVICO temporary collective are:
Rina Espiritu, Pei-Ling Ho, Tsedaye Makonnen, Diane Dwyer, David Ian Bellows/Griess, Benjamin Lundberg Torres Sánchez, @Daniel Gonzalez, Nana Ama Bentsi-Enchill (Ama BE), Aditi Natasha Kini and Amin Husain, Leopold Krist (Leopoldo Bloom), Megan Livingston, Feminist Art Group (F.A.G.), Amelia Marzec (Amelia Meta), Samantha CC (Samantha Regina), Sierra Ortega, Verónica Peña, Ada Pinkston, Lorene Bouboushian, Arantxa Araujo, Helen Yung

This temporary collective will meet on each of the five Saturdays for forum discussion and interaction 6pm-7:30pm, followed by public performances/presentations/situations at 8pm on each date:

April 21 public performances/presentations by: Diane Dwyer, Benjamin Lundberg Torres Sánchez, Rina Espiritu
https://www.facebook.com/events/1003293089837925/

May 26 public performances/presentations by: Pei-Ling Ho, Tsedaye Makonnen, Daniel Gonzalez, Nana Ama Bentsi-Enchill

September 29 public performances/presentations by: Aditi Natasha Kini and Amin Husain, Leopold Krist, Megan Livingston, Feminist Art Group (F.A.G.)

October 20 public performances/presentations by: Amelia Marzec, Samantha CC, Sierra Ortega, Verónica Peña

November 10 public performances/presentations by: Ada Pinkston, Lorene Bouboushian, Arantxa Araujo, Helen Yung, David Ian Bellows/Griess

PLEASE VISIT INDIVIDUAL EVENT PAGES FOR MORE ARTIST/PRESENTER/PERFORMANCE INFORMATION

context/org inf0s________________>>>>_____________________<<<

CIVIC REFLEX/REFLEJO CIVICO is organized as/by Brooklyn International Performance Art Foundation (BIPAF) and Panoply Performance Laboratory (PPL) as a part of PERFORMANCY FORUM. Members of the temporary collective were selected through an Open Call by a peer committee convened March 8, 2018.

CIVIC REFLEX/REFLEJO CIVICO is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council (BAC). This grant is distributed to the 20 artists/groups involved, allowing honorariums of $150/each. The remaining grant monies go towards toilet paper, cups, printed programs, and the project blog domain.

ABOUT BIPAF
Brooklyn International Performance Art Foundation (BIPAF) is an anonymous entity operating as an ongoing institutional critique project. BIPAF was initiated in 2013 to produce the first and only ever month-long Brooklyn International Performance Art Festival, a mass organizing endeavor that took place across 11 spaces and many public sites in Brooklyn. “BIPAF” has since been used by JACK, Leili Huzaibah and Esther Neff, and others to perform administrative, bureaucratic, and institutional activities (such as grant disbursement, letters of invitation for Visas, grant proposals, and more). BIPAF is, in and of itself, performance art. www.bipaf.net

ABOUT PERFORMANCY FORUM
PERFORMANCY FORUM is an exhibition platform and discursive program constructed for and by performance artists. Initiated in 2009 by Esther Neff/PPL. PERFORMANCY FORUM has since has since become a relational, self-reflexive project, collaborating with artists, spaces, sites, curatorial collectives, and many others to produce exhibitions, shows, workshops, conferences, actions, events, and performative critical gatherings. Initiatives and events have emerged in relationship with SUPERFRONT (Public Summer at Industry City), the Poop Project (BOB the Pavilion at Columbia University), MDW Art Fair, Performer Stammtisch, Association for Performance Art Berlin (APAB), Brooklyn International Performance Art Festival/Foundation (BIPAF), ITINERANT (Hector Canonge), Petrichor Performance Collective, and many independent curators, organizers, artists, and groups from all over the world. PF’s primary activities include the monthly incarnation of the platform as one-night performance art exhibitions at Panoply Performance Laboratory in Bushwick, Brooklyn. www.performancyforum.net

ABOUT PANOPLY PERFORMANCE LABORATORY (PPL)
PPL is a flexible collective, thinktank(s), and lab site. PPL makes and situates performance art, operas-of-operations, installations, and social projects, operating across a spectrum between live art/life art and cultural organizing, researching embodiments, forms of public gathering, and performative ideation, conceptualization, and theorization across scales and spheres. www.panoplylab.org

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.

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.

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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]

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/

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