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Performing our Reality / Dreaming our Escape - Notes from Satellite 2.0 by Alexandra Hammond

1/13/2017

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DOMINIQUE DUROSEAU | "Mammy was here: to Plea" | photo by Abby Whisenant

Performing our Reality / Dreaming our Escape - Notes from Satellite 2.0
Alexandra Hammond for Performance is Alive

It’s just before the opening of Satellite 2.0 and the Parisian hotel in Miami Beach is as ready as it will ever be. Each room has been cleared of furnishings and occupied by a gallery, curatorial project, artist collective or publication. Many have been transformed beyond recognition while others, including our booth for Performance is Alive, revel in the dingy tones of cream and pale-peach paint, making use of the vaguely sordid yet standardized markers of the hotel’s architecture of transience: dated carpeting, wall-mounted televisions and lamps.

We have covered the linty carpet with an uncanny layer of adhesive plastic rug-guard topped with beige drop cloths. Artist, Curator and Performance is Alive founder Quinn Dukes has been performing and managing performance events for years and knows that “performers get messy”. She is keen to support the artists and tend to the realization of their works as much as possible under the constraints of a nonexistent budget and the hotel setting. The only rule: no fire.
​

After a day and a half of nearly round-the-clock preparation (more for many of the elaborate booths) the Satellite Art fair feels like a possible setting for a Borges story: a world within the world, with its own sense of time and cultural mores.

The lobby is now equipped with a giant cereal bowl, titled F+++ Off, fashioned from a modified Doughboy pool and filled with enlarged Captain Crunch pieces sculpted out of foam. A bubble-bath fountain shaped like a giant milk carton pours down from above. Its creators, Jen Catron and Paul Outlaw don bathing suits and float in doughnut-styled inner tubes from time the fair opens until it closes each day. They take their job seriously, just like the exotic car rental agency that normally shares the lobby of the Parisian and continues its usual business throughout the fair, tending to and lending out a small stable of Lamborghinis and Rolls Royces that are parked out front.

Curator Jesse Firestone (creator of the Soothing Center and an organizer of the fair along with Founder Brian Whiteley) stops into our booth for Performance is Alive. Jessie, Quinn and I joke that if we had to stay at the Parisian forever, we would survive and make our own world. Like the Eagles’ Hotel California, but with more exuberance and less downfall.

The fantasy of the self-sustaining art-pod was particularly poignant in the days immediately following the presidential election. The final dissolution of the myth of American exceptionalism calls for action, and the temporary world-building represented by repurposing a hotel for a few days of art viewing (even as it participates in the commercial crush of Miami art week), can be seen as a utopic gesture, perhaps even an act of love towards a world that has revealed itself as a more troubled place than we had imagined.

Nestled on the second of three floors of this most wacky and artist-powered of the Miami art fairs, Performance is Alive’s room 15 was poised to be occupied by the first of its politically-charged performances. Artists addressed the interconnected subjects of landscape and environmental destruction, race, gender, consumer capitalism, labor, violence and eroticism. In short, the range of issues that arise when the medium is the ever-political, ever-present body.

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Lorene Bouboushian presents extent of explosive lament 

1/8/2017

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Lorene Bouboushian | Farrington llewellyn | Fresh Oysters Performance Research, Minneapolis
Lorene Bouboushian | photo by Farrington llewellyn | Fresh Oysters Performance Research, Minneapolis

Earlier this year, I had the great honor of participating in a residency coordinated by the Feminist Art Group and IV Soldiers Gallery in Rosekill, NY. During that residency, I collaborated, cooked, performed, cleaned, chopped fire wood, tended to a fire for 12 hours and shared the most profound moments and memories of my artistic career with members of the Feminist Art Group. Fellow participants, Lorene Bouboushian and Kaia Gilje presented a daring and physically challenging performance across an overgrown field at Rosekill. Contained within giant plastic water containers, Bouboushian and Gilje yelled towards eachother, using sound as the only directional tool. The scale and physical intensity of the piece was so wonderfully bizarre and unlike other performances that I had witnessed ... anywhere!

Bouboushian is presenting a new project this week entitled, 
extent of explosive lament at The Exponential Festival based in various locations across Brooklyn, NY. I can't wait to experience Bouboushian's latest performance dimensions and invite you to experience this work first hand. Full details below. - Quinn Dukes

Lorene Bouboushian presents "extent of explosive lament"
January 11 at 8pm // January 15 at 4pm // January 18 at 8pm
The Brick (Part of FEATURING)
579 Metropolitan Avenue
Brooklyn NY 11211
$10 at the door
January 26, 27 at 7:30

​CPR - Center for Performance Research
(Part of Chez Bushwick's Artist In Residence Program)
​
361 Manhattan Avenue | Unit 1
Brooklyn, New York 11211
$12 in advance
Lorene Bouboushian | Farrington llewellyn | Fresh Oysters Performance Research, Minneapolis
Lorene Bouboushian | photo by Farrington llewellyn | Fresh Oysters Performance Research, Minneapolis

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    CONTRIBUTORS

    Ian Deleón
    ​Quinn Dukes 
    Alexandra Hammond
    Luke Mannarino
    Polina Riabova
    ​
    Sarah G. Sharp
    ​
    Alex Sullivan



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MISSION // Based in Brooklyn, NYC, PERFORMANCE IS ALIVE is an online platform featuring the work and words of current performance art practitioners. Through interviews, reviews, artists features, sponsorship and curatorial projects, we aim to support the performance community while offering an access point to the performance curious.

​Performance Is Alive is a fiscally sponsored project of Fractured Atlas, a 501(c)(3) charity. Contributions made payable to Fractured Atlas for the purposes of Performance Is Alive are tax-deductible to the extent permitted by law.

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  • News
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  • CURATORIAL PROJECTS
    • SATELLITE ART SHOW - MIAMI 2021
    • Satellite Art Show Miami 2019
    • Satellite Art Show NYC 2019
    • Alive at Satellite | SXSW 2019
    • Alive At Satellite | Miami Art Week 2018
    • ART HOLE - NYC 2018
    • Alive At Satellite | Miami Art Week 2017
    • Alive At Satellite - Miami Art Week 2016
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