In conjunction with Slipping Into Darkness by Julie Tolentino.
bury.me.fiercely. is a meditation on sex and the aging body. Tracing the weight of touch and blood, Tolentino and Fila evoke an empathetic landscape, a fractured web, and a reflection of a vexed yet vital archive of tethered lives.
Photo by Hillary Goidell.
Oscar Nñ, DJ and co-founder of the Brooklyn-based queer nightlife collective Papi Juice, and Julie Tolentino, performance installation maker and founder of Clit Club (1990-2012), a queer and pro-sex lesbian nightclub, have joined forces to present ur tongue in my mouth—a queer nightlife experiment.
DJs: Stud1nt, Yung Bugarron, Morenxxx, Oscar Nñ
MCs: West Dakota & Niki Davis
Live Drums: Maisha Yearwood
Set Design and Video Installation: Julie Tolentino and Oscar Nñ
Soundscape: Oscar Nñ
Image courtesy of Oscar Nñ.
Founded in New York City in the summer of 2017, GUSH came into the nightlife scene to create a space that felt vital and prioritized queer people of color. Since then, the party has grown to become one of the most sexy and anticipated nights bringing together young lesbians and queers from all over New York and beyond.
Sex positive and celebratory, GUSH’s parties are “soft & softcore” and feature interdisciplinary hosts, exotic dancers, DJs, and live acts.
In an effort to provide a space like no other, GUSH adheres to what they call a “reverse economic pricing system” that considers the realities of gender and identity rooted in economic disparities.
The base admission price is $10, with a suggested price of $75 for cis straight men.
Illustration by Taeer Maymon.
rafa esparza breaks open the stage and creates momentum in two Acts. Act I, a public intervention in the streets of D.C., cuts down and reframes the symbolism of architectures of power. As an artist who considers himself brown and queer, raised by working-class, immigrant parents, esparza seeks to build connections with nontraditional art audiences in communities with similar histories and origins. With his action, esparza addresses the physical foundation that houses a system governed by the 45th president, whose rhetoric has aided in the inhumane violence of separating families, caging children, and detaining adults in intolerable conditions.
In Act II, the remains of the performance will be transported back into Performance Space’s theaters. Here, invited collaborators Timo Fahler, Raquel Gutiérrez, Sebastian Hernandez, Risa Puleo, and Yosimar Reyes will share the space with their communities for an eventful public dinner conceived by celebrated chef Gerardo Gonzalez to collectively witness readings that take a cue from the invited artists’ and writers’ respective knowledge, ideas, and experience of change.
*ASL will be available, if you have any questions please email boxoffice@PerformanceSpaceNewYork.org.
Co-commissioned by Performance Space New York and Ballroom Marfa. This project is supported in part by an award from the National Endowment for the Arts.
Photo by Nacho Nava.
With her work farsa (engl. farce), the Brazilian artist Renata Lucas creates “a theatre that performs itself” generating a montage of space and perception that disarms dynamics of totality. A large hanging curtain that spans across Performance Space’s main theatre—within which two smaller curtains are embedded—rotates and opens up passageways when activated by the viewer. As bodies move through the work, their limbs appear as disembodied pieces cutting through perceived truths and assumptions, leaving us in a state of farcical reality where nothing is static or stable. With farsa, Lucas alludes to the current political situation in Brazil, where totalitarian currents attempt to reshape rights and liberties and disembody established values and moral systems.
This project is supported in part by an award from the National Endowment for the Arts.