Christelle Oyiri (who DJs under the moniker CRYSTALLMESS) hosts and organizes the U.S. debut of EDGING at Performance Space New York, in conjunction with and in celebration of her first solo exhibition, Belief May Vary, at Amant. Oyiri’s EDGING is a performance and musical laboratory with DJ sets and live performances, a high energy collision of experimental electronics, regional club forms, rap, and techno, bringing dancers to a sonic edge.
LINEUP COMING SOON!
Art Workers Are Artists Too is a program performed, run, and designed by technicians, designers, front of house, and other art workers who work at Performance Space New York. The program is a “thank you” to those who help shape the performances and events we present each season. Now in its 5th year, we invite performers to reflect on their time at Performance Space New York and share work that speaks to both sides of their practice—as artists and as art workers.
Holland Andrews returns to PSNY with their collaborator, yuniya edi kwon, in preparation for a performance of How does it feel to look at nothing, an opera co-created and co-directed by the artists, exploring on the forces and conditions that compel life’s emergence and the meanings we make within periods of decay.
Movement artist, Symara Sarai, will have full access to Performance Space New York’s studios to examine their experiences of love as they are formed through risk, trust, memory, and cultural inheritance. Drawing from lived encounters and personal histories, their research considers how intimacy can manifest in unconventional, high-stakes, and spiritually resonant forms through dance, live action, and visual documentation. Their work reflects on love as a series of embodied negotiations shaped by vulnerability, autonomy, and relational exchange.
Open Movement‘s WIP Feedback Front, a showcase of works in progress from artists, many of whom are part of the Open Movement community. Artists present their projects in a casual, supportive atmosphere to get feedback while the works are still being developed. Audience members are invited to share their responses anonymously, creating open exchange between creators and observers.
“The Con is a dance theater work for three performers that tests the edges and horizons of performance. Catalyzed by my improvisational sensibilities, this piece brings together scenes from a wide range of film and theater texts, my own writing, as well as choreography that references and unravels archetypal embodiment from different performance eras. “The Con” deepens a slippery agility I’ve cultivated in my practice, moving between a breadth of performance conventions to challenge ideas of authority, virtuosity, and moral compass. My guiding questions explore the myriad stylizations of “authenticity” and “goodness” expressed through theatrical embodiment. How are different gestures, characters, and speech exalted or exiled across dance, film, and theater – what scripts and scales of behavior do those conventions embed in our culture? With disloyalty to any one system of belief, “The Con” makes its own logic from a constant undermining and unraveling, favoring the unexpected over the virtuosic or good.” – Tess Dworman
Open Movement is curated and organized by Monica Mirabile.