Talking hotels, coyotes morphing into seductive, queer bearded men, grandmothers drifting away on glaciers: just a few of the surreal scenes from HOLIDAYS IN / COYOTE, a play directed by Jess Chayes and written by Adam R. Burnett in collaboration with the cast and crew. The play was presented by The Tank as part of this year’s Exponential Festival - an extensive, annual nonprofit presenting performance throughout Brooklyn and Manhattan during the month of January. I ventured out to the city on a blistering cold evening to see the production during it’s week-long run (Jan 14th - 20th).
Last December, a plastic covered and patriotic "Diane The American Swimmer" portrayed by NYC based performance artist, Diane Dwyer, set the out to Miami Beach with a very specific message about climate change. Learn more about this great "American Swimmer" in our latest artist feature! - Quinn Dukes
Katya Grokhovsky is a powerhouse-bad-ass-feminist who employs video, collage, painting, sculpture and performance art within her artistic practice. She is brave, daring, unwavering and I am thrilled to present her as our 2018 inaugural FEATURED ARTIST. Grokhovsky was born in Ukraine, raised in Australia and completed her MFA at the School of the Art Institute Chicago. She has an impressive artist residency, fellowship and international exhibition history that she has undoubtedly worked tirelessly to achieve. Katya is also an independent curator who curated, among others, projects such as “CALL OF THE WILD: Pioneers, Rebels and Heroines” at VOX Populi Gallery (Philadelphia, PA) in 2015 and most recently announced her appointment as lead curator for Art in Odd Places NYC edition premiering this fall (October 2018).
Last December, Katya performed "Bad Bad Woman" in conjunction with our programming presented at Satellite Art Show, Miami Art Week 2017. After witnessing the 2-hour durational piece, I felt empowered, exhausted and curious. I am delighted to continue the investigation of Bad Bad Woman with you here. Read, Enjoy and Share! - Quinn Dukes
Performance is alive Presents 4-days of programming during miami art week once again at satellite art show
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
FROM DUST TO DUST: CLOSING THOUGHTS ON THE CONTEMPORARY PERFORMANCE ART EXHIBITION, REMAINS BY IAN DELEÓN
In Politics We Trust: Observing JUST SITUATIONS
Various Locations across Brooklyn, NYC | July 2017
By Polina Riabova
Sitting at Panoply Performance Lab (Brooklyn, NY) on Thursday, July 20th I am sweating buckets. “It’s so HOT in there!” I say to Esther Neff, organizer of JUST SITUATIONS (alongside Kaia Gilje and Leili Huzaibah) as I smoke in-between performances.
“It’s just because there’s so many people,” Esther tells me.
JUST SITUATIONS, a “hybrid-convention, festival and ‘political science fair’” with an intent to create alternative structures and “modes” of being under a capitalist, power-hungry system through performative methods, spanned a total of 10 days (July 13 - 23). For an intensive festival involving more than 60 performers (or ‘situators’), the crowd makes sense.
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.
JUST SITUATIONS - a hybrid performance conference + festival BEGINS TONIGHT IN BROOKLYN AT PANOPLY PERFORMANCE LAB
Performance art organizer-extraordinaires, Leili Huzaibah, Esther Neff and Kaia Gilje have taken on yet another enormously ambitious series of performance events which promise to "host artists and active citizens who are working in performative ways, moving beyond the trending commercialization of art “about” politics." Under the title of "JUST SITUATIONS," over 50 artists are slated to participate/perform/activate the nebulous web of un/convention. The “political science fair” (as it is also referred to by the organizers) begins this evening, Thursday, July 13th at Panoply Performance Lab, Brooklyn, NYC. JUST SITUATIONS opens their programming with specific invitations. Chloë Bass invites viewers to consider how our lives have changed since the election of the 45th president while J. COATL/KEVIN LENNY invites guests to consider how to "make space for engagement."
All events during JUST SITUATIONS are "pay-what-you can" with a sliding scale recommended donation of $5-$20. You can also support this incredible project and the participating artists on the festival's Generosity page. Full festival details are available here.
Preparing for "Not a Rehearsal"
El Museo De Los Sures, Brooklyn, NYC, April 5, 2017
By Polina Riabova
On Wednesday, April 5th, I attended a movement, text, sound and action-based feminist performance event while going through what I can only refer to as a minor breakdown.
Prior to leaving for Not A Rehearsal (curated by Jean Carla Rodea and Kathie Halfin) at El Museo De Los Sures (NYC) I had written a dramatic Facebook status about the TV show Girls, which somehow resulted in me missing the first performance of the evening by artist Sierra Ortega, “I scream the body electric." I was told by audience members who experienced the piece that Ortega described her problems that day (such as subway delays making her late - hi, yes, me too) then proceeded to record and loop the audio, in between takes of which she shrieked. I entered the space fuming at myself for the unprofessionalism inherent in prioritizing a Facebook status over a paid writing gig. Ironically, in not seeing Ortega’s work I made what I understood of it the essence of my reality. For the next 2 hours or so all my problems were looping inside my head and in-between them, I too, shrieked.