Shows | Page 41 of 48 | Performance Space New York Spring Gala

Archives: Shows

Fame Notions

 

*The performance runs 3 hours, late arrival and re-entry permitted.
 

Emptiness, stillness, and refusal are sources of great creativity to the Brooklyn-based artist, Gillian Walsh. At the core of her work is a love-hate relationship with the medium of dance, a friction that often translates into highly formalist performances which can feel uninviting at first sight. Behind the seemingly hermetic surface of Walsh’s repetitive dances, however, lies a sincere attempt to carve out a new role for dance as an artistic medium to experiment with non-capitalist temporalities and create new spaces for collective experiences.
 

The title of Walsh’s new work, Fame Notions, is an anagram of Yvonne Rainer’s famous No Manifesto (1965), a historic reference to another artist’s attempt to expand the notion of what dance can do. Instead of just criticizing formalist conventions, however, Walsh takes her critique a step further and situates dance’s materialist foundations as inherently alienating.

 

Commissioned by Performance Space New York. This project is supported in part by Jerome Foundation.

Photo: Gillian Walsh (cropped into heart)

Photography by Paula Court

 

Beginning, End, None

Related Event

Penumbra—Hannah Black and Juliana Huxtable | May 15, 16

 

Hannah Black’s video installation, Beginning, End, None, takes the cell, the building block of all living organisms, as its starting point. Questioning the classic analogy of the cell as “factory,” Black explores the ideological aura of this comparison, which implicitly naturalizes the factory and commodifies the cell. Meanwhile, biotech has now made the analogy real by treating cells as sites of production.
 

Using found, personal, and laboratory footage, Black explores the leakiness of metaphoric and real transmissions between concepts of biology and society. Across three screens, the video proposes that our understanding of the material substance of life is haunted by containment and force, connecting the cell with the prison, the slave ship and industrial production. Past and present forced labor regimes provide the ground for the biological categorisations that appear here in purified form, as spectral technical images.

 

Warning: This video contains strobe effects.

 

Program:

2pm

2pm

2pm

8pm

Photo: mumok / Klaus Pichler, courtesy of Hannah Black and Arcadia Missa (cropped into heart)

Black Power Naps

Related Event

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.

 

Follow niv Acosta and Fannie Sosa on Instagram – @zombiecocolo @funniesosa.

 

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)

First Nations Dialogues: KIN

With Mariaa Randall, Genevieve Grieves, Paola Balla, Emily Johnson, Muriel Miguel, Joshua Pether, and S.J Norman.
 
KIN is part of First Nations Dialogues, a series of Indigenous-led performances, discussions, workshops, meetings, and ceremony taking place across New York City in January 2019. Kicking off the No Series, KIN features three performances, one workshop, and three conversations by five First Nations artists from Australia and local NYC-based elder Muriel Miguel from the Kuna and Rappahannock Nations. These artists are in dialogue with one another and share specific Indigenous experiences through their work such as kinship, care, and the transmutation of grief through movement, process, ceremony, and language.
 
Refusing imposed colonial structures, the artists in KIN celebrate a radical Indigenous sociality which has allowed for both survival and futurity over centuries. Practicing care and kinship within wide networks of human and more-than-human beings (e.g. water and land) is fundamental to this sociality and celebrated in KIN.
 

Tickets to KIN (all performances, conversations, and workshops) are free for First Nations folx. Please reserve your tickets if you are interested.

 
Schedule:

Performance
January 5 | 7pm
January 6 | 3pm
U.S. Premiere
$15

The work of the Joshua Pether, who is of Kalkadoon heritage but lives on Noongar country in Western Australia, is influenced by his two cultural histories, indigeneity and disability. His latest work, Jupiter Orbiting, involves an immersive sci-fi narrative which invites the viewer into a powerful encounter with dissociation and trauma.

Conversations
January 6 | 5pm
January 8, 10 | 4pm
Free

KIN Conversations 1: Center of Center of Center
KIN Conversations 2: Uqamaltaciq, the weight of something
KIN Conversations 3: Qailluqtarr, to act, change or deal with things in various ways – some ways in which are hard to explain

Guided by First Nations artists and scholars—Paola Balla, a Wemba-Wemba and Gunditjmara woman based in Melbourne; Genevieve Grieves, a Worimi woman from Southeast Australia based in Melbourne; and Emily Johnson, a Yup’ik woman from Alaska based in New York City—this series of conversations threads through KIN and like KIN, it weaves through trauma, violence, and history with a generous resolve for the present and future—a commitment to generosity, positive motion, and the kind of deep love that moves forward like the undercurrent of the East River, the Birrarung, the Mnisose. Please come to all three conversations if you can, as they are accumulative.

Workshop
January 7 | 3 – 9pm
Free

Led by Muriel Miguel—one of the founders of the legendary Indigenous women’s theater company Spiderwoman Theater—the Pulling Threads Fabric Workshop invites participants to share stories and listen, to stitch together that which has been ripped apart, through storytelling and quilting, and to engage with personal and community stories of violence, healing, and ultimately, renewal. The workshop is open to female identified people only.

Performance
January 8 | 7:30pm
World Premiere
$15

Please read the artist’s Invitation Letter before making your reservation.

Norman is a non-binary Koori live artist and writer. Cicatrix 1 (that which is taken/that which remains), specially made for KIN, is a chain of actions, woven from the syncretic tissues of buried rites for mourning and remembrance. In particular, Cicatrix 1 considers the collision of Indigenous, queer, and trans bodies with state power, specifically the abuse and obliteration of those bodies by the carceral state. A long-durational ritual unfolding over approximately four hours, Cicatrix 1 begins with the lighting of a medicinal fire and concludes with an outdoor, midnight procession.

 

Credits

Lead artist: S.J Norman
Performers: Carly Sheppard, Emily Johnson, Mykaela Saunders, and Muriel Miguel.
Live tattooing: Holly Mititquq Nordlum
Sound: Naretha Williams
Video: Sam Icklow
Data-mapping/back piece design: Kiesia Carmine

Performance
January 10 | 2pm, 6pm, 8pm
U.S. Premiere
$15

Mariaa Randall belongs to the Bundjalung and Yaegl people of the Far North Coast of New South Wales, Australia. Footwork/Technique is a movement piece of contemporary Australian Aboriginal footworks and dance legacies. It is presented as an art in motion, as a form of Land Acknowledgment, as a reference to time and a comment on colonization.

Produced in partnership with First Nations Dialogues, BlakDance, Global First Nations Performance Network, and American Realness.

Supported by the Barragga Bay Fund with additional support by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Photo: Adele Wilkes (cropped into heart).

 

Fantastic Voyage w/ Lyrics HD

Organized by American Artist.

With American Artist, NIC Kay, Raúl De Nieves, Jackie Wang, NUNATS NEN-TUK NUTAKS DIPA (THE WRONG VOICE IS COMING OUT OF YOU)
 
In conjunction with the installation A Wild Ass Beyond: ApocalypseRN, American Artist invites writers and performers whose works embody radical imagination. As the exhibition speculates on survival strategies of the people who have always been surviving, in the face of an apocalypse, Artist is drawn to music for its legacy within liberation struggles as well as a means of meaning-making in another (non)world. Rather than being purely musical, the performances are often interdisciplinary in nature, and share a genesis in writing and radical pedagogy.
 
Co-presented with Eyebeam.
 

This event is supported by the Doris Duke Charitable Foundation.
All rights reserved by Performance Space New York
Skip to content