Installation | Performance Space New York


Where everybody knows your name, Gnaw explores the social organization of the kitchen and the fermentation of gender from the inside out. Set within Open Room, quori theodor creates an otherworldly diner that pushes our sense of edibility and recontextualizes the performativity of food.
Countertops as flooring, an evolving ferment library, a vending machine stocked with toothsome experiments, ingredients underfoot, and food mess lining the walls—Gnaw invites visitors to explore the limits of food, decaying a sense of normalcy around the customs of eating and their structural implications.
All are welcome to use the space: taste it, loiter in it, marinate in it, repose in it, lick it. Gnaw will additionally be activated through a series of performances, workshops, experiments, and communal meals that will be announced throughout the year.
The mouth is a room, come sit.


Part of the Artists-in-Residents (AIRs), a group that stemmed from Performance Space’s 02020 project, Stev reckons with the events that transpired within and around the building that houses Performance Space New York. Nestled between two historical events; the 2020 uprisings and the global pandemic, the AIRs found themselves welcomed into the space during this period of civil unrest. Months later, relationships eventually frayed and distrust had taken root between the institution and the AIRs. 
As a mode of reflection on this moment, Stev offers us an evening-long audio/visual collage incorporating movement and live paint by Alexa Marcel Ram that seeks to explore the stories of the “Artist-in-Residents” as a means of chronicling their history and future prospects. Cascading images are juxtaposed alongside audio samples that showcase the vast probability and connections born from, and interlaced by, mere chance encounters. Subsequently, embarking on a journey that examines how lessons from that calendar year can build meaningful and long lasting support for those who reflect the spirit of the original AIR’s while seeking ways to make strides in helping ease the various adversities facing them.”

Blood Type

With his installation, Blood Type, artist Dozie Kanu inaugurates Performance Space’s Open Room, a publicly accessible space for community. The room is softened and soaked in dark tones. A work table snakes down the wall, onto the floor, across the room, back onto the floor, across the room. An array of stools are lined up, free to be taken and used.
In his sculptural work Kanu often teases and disrupts functionality by juxtaposing the utterly familiar and domestic with jarring culturally evocative materials. In the case of Blood Type the banal discomfort of a present day coworking space is undercut with anachronistic shapes from Portugal, Nigeria, and America that trace a darker entangled past. The artist—born in Houston, TX to Nigerian immigrant parents, and currently residing in a warehouse he converted in rural Portugal—offers up history and autobiography as a gathering space: to be filled with performances, visitors, and community members each bringing multitudes of interpretation to its charged surfaces.
On October 19 Kanu will present a performance program in his installation as part of Performance Space’s Octopus series.

Supported in part by Project Native Informant, London


Wet ash falls from the ceiling. It slowly empties into an algae filled stream surrounded by moss covered boulders and gravel. Responding to last year’s brutal mood of apocalypse and rapture, Precious Okoyomon’s installation creates an ecosystem that seeks to hold grief. Visitors are invited to sit or stand or lay down in the uncomfortable space of mourning that we so often avoid.
An important material here is the ash from the incinerated kudzu, grown for Okomoyon’s most recent exhibition, Earthseed, at the MMK in Frankfurt. The vine, originally from Japan, was used to prevent soil erosion resulting from the cultivation of cotton during slavery; a bandage intended to cover up the environmental tolls of slavery, it instead proliferated, and became known as “the vine that ate the south.”
With FRAGMENTED BODY PERCEPTIONS AS HIGHER VIBRATION FREQUENCIES TO GOD Okoyomon creates a new world in the Keith Haring Theatre, a wake for death allowing for catharsis, celebration, and closing: “2020 was the reckoning of death, and we’re still living in it. We have to face it and live in it and allow it to change us and be changed by it.”
Medium: moss, gravel, soil, ladybugs,crickets, mud, anoles, kudzu ash, wildflowers ❤️

Weather report

Today i wake up still the assemblage associated distortions bewilder me



In the supernatural sky

I was restful as I had reached my place of salvation

The surface as a material structure neither heaven nor solace

Only the wind

Only quenched light

Lulled into covering until everything was the same

soul object well formed

the irreducible always already truth

Hidden in the trees

It is nothing i am here i am still here

desire dissolves away

glug glguhhh guhhhh i drink gulps of light

Putting myself back together

The rain pushes all the glyphosate


polycyclic aromatic hydrocarbons down into the ground

industrial operation rehearses suffering its moves the world with terrible momentum shift me into dimensional alienation



I look up at the sky bathed in pink

longing for a liberated psyche I could rinse of any meaning into light no former shape

Like the word, the world is dying in flames

Like rapacious gloom in the empires burning afterlife

Like looking out the window a hollow flower

Like falling into the wind

Like falling into the heavy air

Like falling to limitless love

Made into air returning into the membrane of the real high shit

Pathogenic pleasure

Like we gotta make a new world

Like fade up reform resound

Open association vacate


Like the surprising sun is blossoming somewhere and here i am blown away into the paradox of smiling


Precious Okoyomon, FRAGMENTED BODY PERCEPTIONS AS HIGHER VIBRATION FREQUENCIES TO GOD is made possible in part by grant from the National Performance Network.

Sean-Kierre Lyons, Creative Consultant

Dion McKenzie (TYGAPAW), Sound Designer

Michael Hernandez, Sound Engineer

Jørgen Skjaervold, Lighting/Effects Engineer

Michael DeCaul, Alexander Setzko, Gabriel García, and Robin Ediger-Seto, Scenic Carpenters

Jørgen Skjaervold and Michael Hernández, Technical Sculptors

Scenic Rock Towers by Quinn Stone, StoneDog Studios

Clay, Mulch, Delaware River Rock provided by Landscape Materials Inc.

Installation Photography by Da Ping Luo

Slipping Into Darkness

As a week-long performance-installation, Tolentino’s new durational work, Slipping Into Darkness, plays out in both the Day and the Night. In the daylight of the winter sun, movers breathe, labor, and shift while sheathed under the cover of a thick “horizon” made from leather, scented oils, reflective surfaces, and dense sound. In the evening, participants join in an intimate one-to-one exchange immersed in a dark pool of mineral water. Working with and below these evocative opaque surfaces, Tolentino reaches for the sensual, the subjective excess of each encounter. Loss tenders refuge. Space and time open to the accounts of Othersthe imprecisely labeled, unseen, or overlookedand the inspiring visionaries who thrive as not-of-this-world future-makers. Tolentino tunes us into spaces that generously blur yet ignite our shadowy interiors and fugitive poetics with time’s future-past to float with that which falls in and out of grasp.
This project will be accompanied by—a 35-minute special late night performance on Dec 12th at 10pm by Julie Tolentino and Stosh Fila.


Commissioned by Performance Space New York.

All rights reserved by Performance Space New York
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