John Giorno Octopus Series

Using the Octopus’s decentralized nervous system as an inspiration for Performance Space New York’s curatorial practice, the John Giorno Octopus Series invites artists and guest curators to organize an evening-length program with several artists working in any number of disciplines. The series is named after legendary performance poet, John Giorno, and continues Performance Space’s legacy of artist-centric programming and creating space for risk-taking.

John Giorno Octopus Series

Using the Octopus’s decentralized nervous system as an inspiration for Performance Space New York’s curatorial practice, the John Giorno Octopus Series invites artists and guest curators to organize an evening-length program with several artists working in any number of disciplines. The series is named after legendary performance poet, John Giorno, and continues Performance Space’s legacy of artist-centric programming and creating space for risk-taking.

John Giorno Octopus Series

Performers: Jeffrey Meris and Vivian Vivas
 
Using the Octopus’s decentralized nervous system as an inspiration for Performance Space New York’s curatorial practice, the John Giorno Octopus Series invites artists and guest curators to organize an evening-length program with several artists working in any number of disciplines. The series is named after legendary performance poet, John Giorno, and continues Performance Space’s legacy of artist-centric programming and creating space for risk-taking.
 
*Audio Description is available for the in-person performance.

all things under dog, where two things are always true

 
With Joy Norton, Kate Williams, Maxi Hawkeye Canion, and Reed Rushes.
Original music by ADR (Aaron David Ross) and including music by Eartheater.
 
In all things under dog, where two things are always true, Monica Mirabile looks at the ‘mafia’ as an outlaw ecosystem rising from a lack of resources to cultivate a support structure. Working on a therapeutic level within this architecture, Mirabile builds out a collapsing of time from the combined personal histories of the performers and herself—working through questions of grief, trauma, support, and ultimately resilience in family systems and the society they are influenced by. all things under dog travels through symbolic representations of a house—with five distinct rooms dividing The Keith Haring Theatre—and a black hole. Heightening the intimacy of the work, the audience, viewing the piece in small groups, move through the rooms with the performance.
 
Mirabile seeks to bring the “often healing, life-affirmation that happens for the performers in rehearsal” to the performance. In this way, all things under dog, where two things are always true exists along the continuum of the work the artist has been doing at Performance Space, including leading Open Movement, and her participation as a cohort member of 02020.
 

Co-presented with Creamcake Berlin/HAUHebbel am Ufer.

Remains Persist

 
To Moriah Evans choreography is a social process. Her work draws on somatic practices and feminist critiques of performance and visual culture to expand dance beyond the visible. In her latest work, Evans examines how historical and ongoing forms of socio-political transformation remain as information within the body. Remains Persist works from the remainders—of ancestral histories, lived experiences of race, societal catastrophes, socio-political hierarchies, displacements, imaginations, fantasies, pleasures and more—that live differently in each of our bodies. If this information is invisible, can it be consciously activated and witnessed through movement, utterances, and language? Evans charges the theater with its potential to reconfigure power structures and systemic inequities. In the artist’s own words, “A lot of my work has been about dance and referencing discourses within dance, but this piece uses dance to contend with discourse in the world. And with that, I’m claiming dance, or the body, as a site where people can heal.”

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