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May2018/\

Sarah Michelson has been a defining presence at Performance Space 122 through the years, first as a dancer in the 1990s, then showing her own early work in peer-curated programs like Hothouse, followed by the evening-length pieces Group Experience (2001), Shadowmann Part II (2003), and Daylight (2005), which established her as one of the most original voices of her generation. After a 13-year hiatus, Michelson returns to Performance Space New York with a new piece that considers her own history with the organization, the building, and the community from which her work emanates.
 
Photo by Dona Ann McAdams.
 

May2018/\ was commissioned by Performance Space New York and made possible with support from the Jerome Robbins Foundation, Mertz Gilmore Foundation, Harkness Foundation for Dance, Howard Gilman Foundation, Lambent Foundation Fund of Tides Foundation, The Andrew W. Mellon Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Schrei 27

Hailed as the “high priestess of vocal apocalypse,” legendary avant-garde musician Diamanda Galás presents the U.S. Premiere of her collaboration with video artist Davide Pepe, Schrei 27. The film is based on a work Galás first developed for radio and turned into a quadraphonic performance, Schrei X—a sequence of Beckettian monologues alternately sung, shrieked, whispered, or cried—that Galás gave in complete darkness at Performance Space 122 in 1996. Schrei 27 confronts the audience with an unrelenting visual and sonic portrait of a body enduring torture in the physical confinements of a mental health facility. To Galás, whose work often evokes the suffering of the powerless, “the object of this kind of torture is complete demoralization—and the erasure of all that the captive has ever known—including the fact that he was ever a human being.”
 

Schrei 27 was made possible with support from the Howard Gilman Foundation, Lambent Foundation Fund of Tides Foundation, The Andrew W. Mellon Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Collection 005: Calico Svetlana

Harnessing a combination of thrift store finds and individual customizations, the DIY look that originated from downtown NYC was first broadcast by MTV in 1981, and quickly influenced how young people were dressing all around the world. As youth culture is now instantly co-opted as marketable fashion, the idiosyncratic designs of multifarious fashion-oriented project, Women’s History Museum, present a counter cultural form of self-expression that resists mainstreaming. Founded by Amanda K McGowan and Mattie Rivkah Barringer in 2014, the collective stages an extended theatrical runway presentation of their latest collection.
 
The show will include musical performances by Riichpsycho and Just The Right Height
 

Collection 005: Calico Svetlana was made possible with support from the Howard Gilman Foundation, Lambent Foundation Fund of Tides Foundation, The Andrew W. Mellon Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Blood and Guts In High School

Organized by Sarah Schulman
 
“When you look in the mirror and see a smart, angry girl who wants to be free, you’re seeing a paradigm Kathy helped bring into the realm of the recognizable,” writes Sarah Schulman in The Gentrification of the Mind. Schulman, who has lived across from Performance Space New York for the last forty years, invites more than seventy artists—including many of Acker’s peers, friends, mentees, and cultural descendants—for a marathon reading of the notorious 1978 novel Blood and Guts in High School. Its plot, partly situated in the East Village, spins the all-American coming-of-age story into a girl riot.
 

Nuar Alsadir, Emily Apter, Penny Arcade, Charles Bernstein, Nayland Blake Jennifer Blowdryer, Justin Vivian Bond, Wendy Bowers, Kaucyila Brooke, Teresa Carmody, Cynthia Carr, Stuart Comer, Peter Cramer, Ruth Curry, Maria Damon, Leslie Dick, Zackary Drucker, Johanna Fateman, Melissa Febos, Karen Finley, Richard Foreman, Kay Gabriel, John Godfrey, Ariel Goldberg, Johnny Golding, Rigoberto Gonzales, Veronica Gonzalez, Bette Gordon, Jessica Hagedorn, Michelle Handelman, Carla Harryman, Pooh Kaye, Elisabeth Koke, Phoebe Legere, Rachel Levitsky, Catherine Lord, Sara Mameni, Jaime Manrique, Aline Mare, Shelley Marlow, Douglas Martin, Jason McBride, Tracie Morris, Laura Parnes, Julie Patton, Dale Peck, Tommy Pico, Q Lee, Ariana Reines, Avital Ronell, Aida Ruilova, Carl Hancock Rux, David Salle, Connie Samaras, Harris Schi, Carolee Schneemann, Bina Sharif, Ana Simo, Pamela Sneed, Anna Joy Springer Max Steele, Sara Jane Stoner, Sur Rodney Sur, Betsy Sussler, Stacy Szymaszek Lynne Tillman, Masha Tupitsyn, Jeanne Thornton, Aldrin Valdez, Stephanie Vella Sarah Wang, Mckenzie Wark, Jack Waters, Zoe Whittall, & Chavisa Woods

This event was made possible with support from the Howard Gilman Foundation, Lambent Foundation Fund of Tides Foundation, The Andrew W. Mellon Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

“boyfriend, brother, sister, money, amusement, and father”

Organized by Matias Viegener
 
Kathy Acker famously described the father of her main character Janey in Blood and Guts in High School as “boyfriend, brother, sister, money, amusement, and father.”  Centered on Acker’s notorious video with Alan Sondheim, Blue Tape, this screening program examines the urgency with which Acker approached sex, intimacy, relationships and writing in her work. Through this lens we look at clips of Acker reading, performing, and being interviewed from the 1970s to the 1990s—intimate, formal, and unpredictable.
 
Includes screening excerpts from:
Fuses (1966) by Carolee Schneemann
Blue Tape (1974) by Kathy Acker and Alan Sondheim
Variety (1983) by Bette Gordon
The South Bank Show: Kathy Acker, Season 7, Episode 13 (1984) by Alan Benson
Raw Heat, Kathy Acker (1977)
Kathy Acker at the ICA (1986)
 

This event was made possible with support from the Howard Gilman Foundation, Lambent Foundation Fund of Tides Foundation, The Andrew W. Mellon Foundation; and in part by public funds from New York City Department of Cultural Affairs in partnership with the City Council and New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
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