Performance Is Alive at Satellite Art Show NYC Artist Announcement Curated by Quinn Dukes October 3-6, 2019 Pfizer Building, 630 Flushing Avenue, 1st Floor, Brooklyn, NY 11206 We are THRILLED to publicly announce our upcoming programming for Satellite Art Show NYC! As usual, we will feature several artists that are local to the fair's location while integrating programming from an international group of performance and video artists. Our live performance programming will run throughout all 4 days of Satellite Art Show, featuring 17 live durational actions. Our screening program features 23 dynamically diverse works exploring performance, ritual and body politics. We are additionally honored to host a special screening featuring the work of seminal video artist, Barbara Rosenthal. Stay tuned for our performance and screening schedule. You will undoubtedly experience something different each time you visit our space. FEATURING PERFORMANCE ART from Thomas Albrecht (New York, NY), Christie Blizard (San Antonio, TX), Mairead Delaney (VT), Vyczie Dorado (New York, NY), Rebecca Fitton (NY/England), Kathie Halfin (NY/Ukraine) Markus Holtby (Larchmont, NY), Amanda Hunt and IV Castellanos (Brooklyn, NY), Amanda Kleinhans (Tallahassee, FL), SUNGJAE LEE (Chicago/Korea), Stephanie McGovern (Brooklyn, NY), Butch Merigoni (Brooklyn, NY), Matthias Neumann (NY/Germany), Christopher Unpezverde Núñez (NY/Costa Rica), Alison Pirie (Brooklyn, NY), Sandrine Schaefer (Boston, MA), Wild Actions - Patience, Carley McCready-Bingham, Ginger Wagg (Chapel Hill, NC) FEATURING VIDEOS from Carolina Alamilla (Miami, FL), Alex Apostolidis (Montreal, Canada), Katina Bitsicas (Columbia, MO), Jeffery Byrd (IO), Victor de La Rocque (Sao Paulo, Brazil), Christina M Dietz (Jersey City, NJ), Julha Franz (Porto Alegre, Brazil), Tales Frey (Portugal/Brazil), Edgar Fabián Frías (Tulsa, OK), Igor Furtado (Rio de Janeiro, Brazil), Rodrigo Gomes (Lisbon, Portugal), Jiang Feng (New Taipei City, Taiwan), Maria Del Pilar (PILI) Lopez-Saavedra (New York, NY), Tone Haldrup Lorenzen (Berlin, Germany), Nadja Verena Marcin (Brooklyn, NY), Rachel L Rampleman (New York, NY), Barbara Rosenthal (New York, NY), Monstera Deliciosa (NY/London), Sylvain Souklaye (Copenhagen/France), Alison Starr (Dallas, Texas), Natacha Voliakovsky (Buenos Aires, Argentina), Christopher Willauer, Cherrie Yu (Chicago, IL) PUBLIC FAIR HOURS Thursday, October 3: 5pm – 12am (VIP/Press Preview) Friday, October 4: 5pm – 12am Saturday, October 5: 12pm – 12am Sunday, October 6: 12pm – 6pm
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Performance is Alive brings yet another ambitious, 4-day performance art program to Miami Beach for Satellite Art Show. This year's program features interactive performances, durational works, a panel discussion with slumber party, performance video screenings, lectures and because performance is never entirely predictable, the unknown! PIA artists are encountering the complexity of migration, oppressive patriarchal constructs, trans identity, mental health care, silencing, race relations and many other human rights issues threatened by the Trump administration. So join us for the only non-stop performance art uprising during Miami Art Basel! #AliveAtSatellite #notbasel #performanceisalive
REMAINS PROVES PERFORMANCE ART STILL HAS A PULSE
Fergus McCaffrey, NYC, July 2017 By Ian Deleón To use the word remains is to invoke in someone associations with death, decay, and possibly even dismemberment. Generally speaking it refers to the parts left behind, once some significant change in status has taken place. That change is usually framed in terms of a negative, destructive event but of course destruction can be a kind of creation as well. The word’s linguistic ties to remaining mean that it can also convey that which lives on, or that which stays put. In relation to the art of live performance, talking in terms of remains certainly articulates some of the finer points about post-action detritus and extended duration times, but it’s also important to address the aspect of performance art’s own supposed untimely demise. The notion that one art form or another has died at some point is pervasive in contemporary art historical discourse. Painting has died so many times it has spawned zombie movements. But that kind of makes sense, painting was old. But performance art is fairly new...at least, by some accounts. When we talk about performance in this article we may concede to the influence of its antecedents: of the theater, of dance, of magic, of cinema, of protest. But performance art cannot be all of those things if we are going to have a productive conversation about it. It has to be its own thing, while often appearing in the guise of those other art forms. Performance wasn’t a flash in the pan either, with its death knell rung by an explosion of consumer culture, information, communication or globalization in the early 90s...NO. Performance Art is NOT dead and this exhibition is the proof––the exhumation, the surprise discovery that the remains are intact...and ALIVE. REVIEW: THE SICK ROSE AT PULSAR - CLAPPING, PROPS AND CONTEXT
By Quinn Dukes PULSAR is the performance programming brainchild of Ian DeLeón and Tif Robinette (Agrofemme). Monthly PULSAR events run out of a black box space adjacent to the Catland Bookstore on Flushing Avenue in Bushwick, Brooklyn. The spirit and bounty of performance art in Brooklyn is explosive right now. I have been invited to more events in the past month than all of 2010 combined. It’s staggering, wonderful and allows for experimentation. Performance artists present their work on rooftops, restaurants, lofts, galleries… you name it. These events are often followed by late night parties, occasional fires and electoral candidate bash sessions. What does not seem to be following the same path of enthusiasm however is the shared dialogue, critique and conversation about the performances. All too often, an artist performs, a 5-10 minute break happens and then we (the audience) are thrust into the narratives of a new artist. This practice is not at all uncommon. Live music venues stack the bill, as do comedy shows… but I wonder, how does the abundance of viewership without analysis or conversation alter the effectiveness or memory/remembrance of the work? If the performance reaches me on an emotional and/or visceral level- I am more likely to recall it - but this is merely a function of our neurological mapping. (Richard Sieb, “The Emergence of Emotions,” Activitas Nervosa Superior, 2013) Initiated in February 2016, PULSAR was birthed out of an interest to integrate live artists - linking practitioners of sound, dance, experimental theatre, choreography, performance and beyond. Curators DeLeón and Robinette seek to initiate conversations about the performances presented at PULSAR and the place of performance within our current socio-political environment. In collaboration with INCIDENT Magazine’s David LaGaccia, DeLeón and Robinette began publishing a podcast to share (and archive) discussions related to PULSAR performance programming. On the evening of May 20th, my first PULSAR experience began from across the street of the venue. I watched as a woman dressed in a Victorian white costume presented an offering to passersby. As I drew closer, performance artist Charmaine Wheatley asked me, "Do you want to take a bite." I looked down at the object presented on a silver platter and was informed that it was a dark chocolate mold of her ass. |
CONTRIBUTORSIan Deleón Archives
July 2023
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