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 Others—the imprecisely labeled, unseen, or overlooked—and 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 .bury.me.fiercely.—a 35-minute special late night performance on Dec 12th at 10pm by Julie Tolentino and Stosh Fila.
Zapata invites you to enter and linger in her large-scale textile installation—handwoven, hand-tufted, and sewn into shapes and textures that are a bit misshapen, and refreshingly different from familiar everyday objects. Zapata’s objects can hold our fantasies. They form a landscape in which we can spend time and experience ourselves with other bodies. Through the excess of labor put into this work, Zapata conveys an amorphous sense of time, honoring tradition with untraditional aspects of existence and queerness. This approach also mirrors Zapata’s complex identity: a Texan living in Brooklyn, a lesbian raised as evangelical Christian, a first-generation American of Latin American descent, whose work is inspired by ancient indigenous traditions and ritual.
Sarah Zapata will also organize an event for Octopus on November 2 at 4pm.
Choir of the Slain (part X)— niv Acosta and Fannie Sosa | January 9, 11.
In our society, relaxation and rest is a luxury reserved for the privileged and rich. Recent studies have shown that the distribution of rest is determined by race, with people of color regularly getting less sleep than white people. niv Acosta and Fannie Sosa’s Black Power Naps is a direct response to the Sleep Gap, which the artists see as a continued form of state-sanctioned punishment born from the ongoing legacy of slavery. Reclaiming idleness and play as sources of power and strength, this installation takes over Performance Space’s large theater and invites people of color to break with constant fatigue by slowing down, resting, and interacting with soft, comfortable surfaces.
Our culture has required that people of color present themselves as extraordinary performers, athletes, or entertainers in order to exist in the public realm, Black Power Naps refuses institutionalized exhaustion and demands the redistribution of idleness, down time, and quality sleep.
This project is supported in part by an award from the National Endowment for the Arts and a Mertz Gilmore Foundation Late Stage Grant. Black Power Naps originally premiered in 2018 at Matadero Madrid.
Black Power Naps and Choir of the Slain (part X) has been commissioned by Performance Space New York with support from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. Corporate sponsorship for Black Power Naps and Choir of the Slain (part X) provided by Broadly, Buffy, and Red Bull Music Academy.
Photo: Xeno Rafaél (cropped into heart)