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CPR Programs Manager Anna Muselmann curates OPEN STUDIOS with artists whose work engages ecosensuality and erotics, micro- and macro-ecologies, and mutualistic relationships. The practices of artists Nicolas Baird, A.L. Steiner, cy x (as hell hooks), and agustine zegers each require deep and intimate material research, and examine the strange desires, adaptations, and interdependencies of our ‘more-than-human’ nature. Through learning behaviors, structures, and survival tactics beyond our human imagination, Money Ruined the World begins to conceive of an interspecial collaborative future that is not only more sustainable, but more sensual, pleasurable, and playful.

OPEN STUDIOS is a series of work-in-progress showings held regularly throughout the year, organized by guest curators, and serves as an incubator for new work, inviting the public into the artistic process.


PROGRAM

Nicolas Baird: In the beginning…
We move through deep time in a prose poem. This story is a meditation on endings-as-beginnings, a reflection on climate change and heartache, and an excavation of ecosystems, memory, and loss.

A.L. Steiner: Schwierige Gendanken/Difficult Thoughts.v3
No storage space reasonable. No cloud supple enough. No scrapbook sweet enough. No media responsible enough. No book complete enough to mold these contents.

cy x as hell hooks: GARDEN OF HELL
It's your lucky day. hell hooks will give you a super exclusive tour of their private garden of supersensual delights! Listen carefully, pay attention, and prepare to open all your holes.

agustine zegers: corriente etérica
corriente etérica is a guided, somatic practice incorporating olfactory elements. We will follow the currents pulsating through our bodies as channels of inter- and intra-habitat connections leading us from our own holobiont to that of the submarine cables that host our telecommunications along the ocean floor, encountering aqueous and plastified kinship through them. 


ABOUT THE ARTISTS

Nicolas Baird is an artist, evolutionary biologist, writer, and dancer interested in the relationships between bodies and their landscapes. He makes art and science that frame more-than-human life as a diverse network of strange kin. In art, he uses poetry, performance, and photography to explore mutability and adaptation in a multispecies world. In science, he studies the evolution of mammals in the context of long-term climate change. Since 2017 he has woven these practices together as co-director of the Institute of Queer Ecology, an ever-evolving, collaborative organism producing interdisciplinary art as a tool for critical optimism and queer futurity in the face of vanishing “nature”. He is studying for a doctorate in earth and environmental science.

A.L. Steiner is an artist and educator based in New York. She utilizes constructions of photography, video, installation, collage, collaboration, performance, writing, and curatorial work as seductive tropes channeled through the sensibility of a skeptical queer ecofeminist androgyne. Steiner is co-curator of Ridykeulous, co-founder of Working Artists and the Greater Economy (W.A.G.E.) and collaborates with numerous writers, performers, designers, activists and artists. She is Faculty and Director at Yale University's School of Art. Upcoming projects include Ridykes' Cavern of Fine Inverted WInes and Deviant Videos with MIT Press and Detroit's 2024 Queer Biennial: I'll be Your Mirror.

cy x (hell hooks) is a demon and a dreamer moved by tremendous desire and obsession with glory holes, sex cinemas, erotic horror,  queer archives, and money. They study the way that erotics and space co-construct each other and the objects produced from such encounters and utilize their findings to create ritualized encounters through writing, sound, video, and performance. Their work has been shown in the Center for Art Research and Alliances, Culture Hub, Pioneer Works, Rewire Festival, and other spaces, both digital and physical.

agustine zegers is a Chilean olfactory artist and writer. Their work studies molecular biopolitics and anthropocene atmospherics, attending to the complex nodes of interdependence we share as inhabitants of Earth. By way of queer and microbial methodologies, zegers deploys care practices that reach microscopic dimensions by incorporating bacterial communities, aromatic molecules, and food absorption in their artistic projects, creating tools to reflect on ecocide, interspecies and intrahuman belonging, and care itself. Their work has been exhibited and published internationally at venues such as the Venice Biennale, Galería Jaqueline Martins, Sharjah Art Foundation, Olfactory Art Keller, and DIS Magazine.

Anna Muselmann (curator) is a visual and performing artist, curator, producer, and stylist from Tulsa, OK. In addition to assisting visual and performance artists in Providence, Berlin, San Francisco, and NYC, Muselmann has worked for SIGNAL Gallery, Regina Rex, the WYE (Berlin), Otion Front Studio, Performance Space New York, and Danspace Project, and is currently the Programs Manager at CPR – Center for Performance Research. Her own performance work investigates social and relational dynamics through research in personal daily gestures and habits, more-than-human behaviors, durational group shaking, and group play; and she has performed and shown work at galleries, museums, and venues in San Francisco, Berkeley, Oakland, Tulsa, and NYC. In 2021, she organized and co-curated Clouds Gathering, a 5-day performance residency-retreat for 85 multidisciplinary artists in New Lebanon, NY; and in 2023 she initiated Play Practice, a weekly group meeting of queer and trans artists that explores the relationships between play and games, rules and freedom, leading and following, desire and consent, and power and authority. Muselmann has a BA in Visual Arts and Modern Culture + Media from Brown University.

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Tickets: $15
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*Advance tickets are currently sold out and an in-person waiting list will open at 7pm.


A Respectable Death is a ritual dance-theater performance inspired by my brother, visual artist David Pettrow. My brother was a brilliant painter who took his own life in 2000.  For 24 years I have wanted to create a performance that would not only honor my brother, but also share the power of how art can transform and heal our lives. A Respectable Death examines grief in solitude, the complexity of art, and ultimately how we re-examine our place in the universe after experiencing tragic loss. A deeply poetic meditation and collaboration with my brother. What do we do with our pain?  What do we do with our agency?  What do we do when we are faced with great loss?  Where do we turn to? A Respectable Death is a communal ritual for all. It speaks to that which cannot be named - the unknown, mysterious trajectory of life and death. A ritual that is lacking in our current state.

Written, choreographed, directed, and performed by Daniel Pettrow
Co-director and Mentorship by Arthur Nauzyciel.
Original sound design by Omar Zubair
Filming and photos by Stephen O'Connell


Please consider supporting the presentation of A Respectable Death through the artist’s Indiegogo Campaign.

Tickets: $25
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STEME DANCE NYC is a project based performance art company on a mission to employ the most local freelance artists, year after year. Founded in 2022 by choreographer Stephanie Steme, SDNYC is continually looking for effective ways to create new performance spaces, tell passionate stories, and form a massive community for all artists.

This Choreographers' Showcase, quantum, is supporting six of New York City's emerging choreographers – Anna Limberea, Dominique M Fontenot, Sumayyah Smith & Madi O’Halloran, Damontae Hack, Eléonore Dumas & Ve Moreno, and Stephanie Steme – while providing Space Time Energy Movement and Expression (STEME). For those who experience it, we hope quantum reflects back to you the quantity and quality of energy in proportional magnitude to the frequency we represent.

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Inspired by the letter written and published by 2024 Artist-in-Residence GOODW.Y.N., also a United States veteran, titled Dear Soldier(s): An Open Letter to the Israeli Armed Forces in December 2023, and their ongoing letter-writing practice, this workshop invites participants to write their own letters as performance, response, and fuel for protest. 


ABOUT THE ARTIST

Nicole Goodwin aka GOODW.Y.N. (she/her/they) is the winner of the 2023 LMCC Creative Engagement Grant, a 2022-23 Franklin Furnace Fund Recipient, and a BAX EmergeNYC 2017-2018 artist. GOODW.Y.N. was also a semifinalist for the Headlands 2023 Chamberlain Award and a finalist for both the CUE Foundation’s 2022 Public Programs Fellowship and the 2018 Ragdale Alice Judson Hayes Fellowship, and they advanced to the 2nd Round of the 2018 Creative Capital Awards. They published the articles “Talking with My Daughter…” and “Why is this Happening in Your Life…” in The New York Times’ parent blog, Motherlode, and their work Ain’t I a Woman (?/!): Poems was long-listed for The Black Spring Press Group’s The Christopher Smart-Joan Alice Poetry Prize in 2020.

Free with RSVP
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* Advance tickets for this event are sold out. Additional tickets will be available at the door via an in-person wait list opening at 7 P.M.


In this immersive, participatory gathering, Nocturnal Medicine – a nonprofit studio for climate consciousness and cultural transformation founded by Larissa Belcic and Michelle Farang Shofet – invites the sensual body into an experiment in the sermon. How do you deliver a message? How do you gather around darkness while illuminating pleasure? Playing in the space between religious service and performance art, working in collaboration with the audience, Nocturnal Medicine spins their tried methods and ideologies into an experimental practice that transcends the intellectual and awakens the body subconscious.


ABOUT THE ARTISTS

Nocturnal Medicine is a nonprofit studio for climate consciousness and cultural transformation. Founded by Larissa Belcic and Michelle Farang Shofet in 2016, the collective makes new ways of gathering for the worlds of today and tomorrow. Their practice centers the regeneration of our relationships – with Earth, with each other, and with ourselves. Amongst Nocturnal Medicine’s body of work, they have created sanctuaries for ecological grief, climate-aware seasonal rites, chapels for extinction, and raves for public healing. Their work has been celebrated in The New York Times and CityLab as bringing a cutting-edge, soul-centered approach to addressing the psycho-emotional impacts of climate crisis. They have designed and produced immersive social experiences across diverse platforms, including in nightlife (Nowadays, Gospel), cultural institutions (Lincoln Center, Performance Space New York), and at universities across the country (MIT, UVA, Yale).

Tickets: $10 (limited), $25, $30, sliding scale
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Friday, March 29 | 5–9 PM
Saturday, March 30 | 5–9 PM
Sunday, March 31 | 12–4 PM

Timed entry tickets are for two-hour time slots. The performance cycle takes about an hour and will repeat continuously throughout the four hours of the installation. Recommended viewing time is one hour, and entry and exit may occur at any time. Masks will be required for audience members.


A three-part cycle of complex walking patterns, hits and misses, and a healthy dose of restarts, Connect Four explores the rhythms, contours, and textures of missed connections, reconnections, and absence. Three live performers in quartet with absence mark the four-year anniversary of the 2020 shutdown. 

Conceived and directed by J Dellecave
In collaboration with rosza daniel lang/levitsky and zavé martohardjono

For upwards of ten years Dellecave, Lang/Levitsky, and martohardjono have collaborated in various configurations and on multiple projects. We gathered for this project in 2022 as a point of departure for reconnection and as a practice of embodying connection through dance and studio practice. Here we are four years later. Pause.


ABOUT THE ARTISTS

J Dellecave is an interdisciplinary performance-maker, scholar, and educator concerned with how bodily experience intersects with external fields of social, cultural, and political knowledge. J is currently Assistant Professor of the Practice of Theatre Arts and Performance Studies at Brown University. Prior projects have been presented at The Brick, AUNTS Rockaway Edition, HERE Arts Center, Dixon Place, Brown University, University at Buffalo, San Diego State University, Tucson Fringe Festival, Pieter Performance Space, and MIX Queer Experimental Film Festival. jdellecave.com

rosza daniel lang/levitsky is a cultural worker and organizer based at brooklyn's Glitter House. Never learned how to make art for art’s sake; rarely likes working alone. Third-generation radical; second-generation queer. Just another diesel fem diasporist gendertreyf mischling who identifies with, not as. Active with Survived & Punished NY (abolition feminist work supporting criminalized survivors of gendered violence) and elsewhere. Projects include: Critical Reperformance (re-bodying classic performance scores); JUST LIKE THAT (militant research applying embodied dancing knowledge to justice movement work); Real Life Experience (collecting trans women's political & cultural writing, 1974-1999); the Aftselakhis Spectacle Committee (making NYC's largest non-hasidic purimshpil performances for almost two decades); Koyt Far Dayn Fardakht (punk band playing the yiddish revolutionary repertoire). Much more at meansof.org

zavé martohardjono has been performing for and collaborating with J Dellecave since 2013. A queer, trans, Indonesian-American, multidisciplinary artist, zavé uses dance and ritual as primary languages across projects that engage in anti-colonial storytelling. zavé is a 2022 Bessie-nominated performer who has been written about in the New York Times, BOMB Magazine, CultureBot, and Hyperallergic. Among many galleries and venues, their works have been presented at BAAD!, Boston Center for the Arts, Bronx Museum of the Arts, CEC Arts (Philadelphia, PA), CPR – Center for Performance Research, El Museo del Barrio, HERE, ISSUE Project Room, The Kennedy Center, Mala Stanica Multimedia Center (Skopje, North Macedonia), and Storm King Art Center. Find out more about their work at zavemartohardjono.com | @zavozavito

Tickets: $10 (limited), $25, $30, sliding scale
Purchase Tickets

Friday, March 29 | 5–9 PM
Saturday, March 30 | 5–9 PM
Sunday, March 31 | 12–4 PM

Timed entry tickets are for two-hour time slots. The performance cycle takes about an hour and will repeat continuously throughout the four hours of the installation. Recommended viewing time is one hour, and entry and exit may occur at any time. Masks will be required for audience members.


A three-part cycle of complex walking patterns, hits and misses, and a healthy dose of restarts, Connect Four explores the rhythms, contours, and textures of missed connections, reconnections, and absence. Three live performers in quartet with absence mark the four-year anniversary of the 2020 shutdown. 

Conceived and directed by J Dellecave
In collaboration with rosza daniel lang/levitsky and zavé martohardjono

For upwards of ten years Dellecave, Lang/Levitsky, and martohardjono have collaborated in various configurations and on multiple projects. We gathered for this project in 2022 as a point of departure for reconnection and as a practice of embodying connection through dance and studio practice. Here we are four years later. Pause.


ABOUT THE ARTISTS

J Dellecave is an interdisciplinary performance-maker, scholar, and educator concerned with how bodily experience intersects with external fields of social, cultural, and political knowledge. J is currently Assistant Professor of the Practice of Theatre Arts and Performance Studies at Brown University. Prior projects have been presented at The Brick, AUNTS Rockaway Edition, HERE Arts Center, Dixon Place, Brown University, University at Buffalo, San Diego State University, Tucson Fringe Festival, Pieter Performance Space, and MIX Queer Experimental Film Festival. jdellecave.com

rosza daniel lang/levitsky is a cultural worker and organizer based at brooklyn's Glitter House. Never learned how to make art for art’s sake; rarely likes working alone. Third-generation radical; second-generation queer. Just another diesel fem diasporist gendertreyf mischling who identifies with, not as. Active with Survived & Punished NY (abolition feminist work supporting criminalized survivors of gendered violence) and elsewhere. Projects include: Critical Reperformance (re-bodying classic performance scores); JUST LIKE THAT (militant research applying embodied dancing knowledge to justice movement work); Real Life Experience (collecting trans women's political & cultural writing, 1974-1999); the Aftselakhis Spectacle Committee (making NYC's largest non-hasidic purimshpil performances for almost two decades); Koyt Far Dayn Fardakht (punk band playing the yiddish revolutionary repertoire). Much more at meansof.org

zavé martohardjono has been performing for and collaborating with J Dellecave since 2013. A queer, trans, Indonesian-American, multidisciplinary artist, zavé uses dance and ritual as primary languages across projects that engage in anti-colonial storytelling. zavé is a 2022 Bessie-nominated performer who has been written about in the New York Times, BOMB Magazine, CultureBot, and Hyperallergic. Among many galleries and venues, their works have been presented at BAAD!, Boston Center for the Arts, Bronx Museum of the Arts, CEC Arts (Philadelphia, PA), CPR – Center for Performance Research, El Museo del Barrio, HERE, ISSUE Project Room, The Kennedy Center, Mala Stanica Multimedia Center (Skopje, North Macedonia), and Storm King Art Center. Find out more about their work at zavemartohardjono.com | @zavozavito

Tickets: $10 (limited), $25, $30, sliding scale
Purchase Tickets

Friday, March 29 | 5–9 PM
Saturday, March 30 | 5–9 PM
Sunday, March 31 | 12–4 PM

Timed entry tickets are for two-hour time slots. The performance cycle takes about an hour and will repeat continuously throughout the four hours of the installation. Recommended viewing time is one hour, and entry and exit may occur at any time. Masks will be required for audience members.


A three-part cycle of complex walking patterns, hits and misses, and a healthy dose of restarts, Connect Four explores the rhythms, contours, and textures of missed connections, reconnections, and absence. Three live performers in quartet with absence mark the four-year anniversary of the 2020 shutdown. 

Conceived and directed by J Dellecave
In collaboration with rosza daniel lang/levitsky and zavé martohardjono

For upwards of ten years Dellecave, Lang/Levitsky, and martohardjono have collaborated in various configurations and on multiple projects. We gathered for this project in 2022 as a point of departure for reconnection and as a practice of embodying connection through dance and studio practice. Here we are four years later. Pause.


ABOUT THE ARTISTS

J Dellecave is an interdisciplinary performance-maker, scholar, and educator concerned with how bodily experience intersects with external fields of social, cultural, and political knowledge. J is currently Assistant Professor of the Practice of Theatre Arts and Performance Studies at Brown University. Prior projects have been presented at The Brick, AUNTS Rockaway Edition, HERE Arts Center, Dixon Place, Brown University, University at Buffalo, San Diego State University, Tucson Fringe Festival, Pieter Performance Space, and MIX Queer Experimental Film Festival. jdellecave.com

rosza daniel lang/levitsky is a cultural worker and organizer based at brooklyn's Glitter House. Never learned how to make art for art’s sake; rarely likes working alone. Third-generation radical; second-generation queer. Just another diesel fem diasporist gendertreyf mischling who identifies with, not as. Active with Survived & Punished NY (abolition feminist work supporting criminalized survivors of gendered violence) and elsewhere. Projects include: Critical Reperformance (re-bodying classic performance scores); JUST LIKE THAT (militant research applying embodied dancing knowledge to justice movement work); Real Life Experience (collecting trans women's political & cultural writing, 1974-1999); the Aftselakhis Spectacle Committee (making NYC's largest non-hasidic purimshpil performances for almost two decades); Koyt Far Dayn Fardakht (punk band playing the yiddish revolutionary repertoire). Much more at meansof.org

zavé martohardjono has been performing for and collaborating with J Dellecave since 2013. A queer, trans, Indonesian-American, multidisciplinary artist, zavé uses dance and ritual as primary languages across projects that engage in anti-colonial storytelling. zavé is a 2022 Bessie-nominated performer who has been written about in the New York Times, BOMB Magazine, CultureBot, and Hyperallergic. Among many galleries and venues, their works have been presented at BAAD!, Boston Center for the Arts, Bronx Museum of the Arts, CEC Arts (Philadelphia, PA), CPR – Center for Performance Research, El Museo del Barrio, HERE, ISSUE Project Room, The Kennedy Center, Mala Stanica Multimedia Center (Skopje, North Macedonia), and Storm King Art Center. Find out more about their work at zavemartohardjono.com | @zavozavito

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Tickets: $0-$25, pay what you can
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Azikiwe Mohammed asked his friend Leroy Robinson if he knew anyone making the stuffs. Leroy invited three research-based artists – peter bd, Lex Brown, and Yoshie Sakai – who work in video, sound, or other time-based media. Join us and see what they have cooking. 

OPEN STUDIOS is a series of work-in-progress showings held regularly throughout the year, organized by guest curators, and serves as an incubator for new work, inviting the public into the artistic process.


PROGRAM

peter bd: changeover
A dance performance featuring peter bd, janine hartmann, divine lotus, owen prum, and special guest elise wunderlich.

figuring out who you are
ultimately becoming free 
shift 
transference 
redirection 
changeover 
the powers that be engendered the path 
but one must say
“fuck it” and unlock
intrinsic creativity

Lex Brown: Letters for Gaza
In this collective writing/artmaking session, we will write oversized letters for Ceasefire in occupied Palestine. These letters will be mailed in oversized envelopes to key political and cultural figures. This is a space to express sorrow, anger, and solidarity. Letters may be anonymized if desired.

Yoshie Sakai: Bathroom Stall Tears: Take Two
Where do you go in a public place to have privacy? The Bathroom Stall. Bathroom Stall Tears began as a series of videos meant to be viewed in the context of public restroom stalls. These videos opened the door to a more intimate space for expression and reflection by capturing Yoshie Sakai’s personal childhood memories of their grandmother’s (“obaa-chan” in Japanese) and mother’s selfless acts and small sacrifices to critique the power of gender stereotypes in shaping intergenerational expectations. For CPR, Sakai will experiment with combining the video form with live performance of these characters, “obaa-chan” and mother.


ABOUT THE ARTISTS

peter bd is a writer, curator, performer and the author of the book milk & henny.

Lex Brown is a multimedia artist who uses poetry and science-fiction to create existential narratives about the Information Age. Working fluidly between installation, film, live performance, painting, and sculpture her work contemplates spiritual experience through humor and satire. Brown has performed and exhibited work at the MIT List Center, New Museum, the High Line, the International Center of Photography, and The Kitchen. Her films have been presented at e-flux Screening Room, New York; Transmediale, Berlin; and the East End Film Festival, London. Brown received her undergraduate degree from Princeton University and an MFA from Yale. She was a 2021 United States Artist Fellow. She is the author of My Wet Hot Drone Summer (Badlands Unlimited, 2015), Consciousness (Genderfail, 2019), and the creator of the audio project 1-800-POWERS. She will premiere her first operatic work at the Kennedy Center in January 2025 as a librettist in the Washington National Opera’s American Opera Initiative.

Yoshie Sakai is a multimedia artist who works with video, sculpture, installation, and performance, and is based in Gardena, CA. Her work is centered on accessibility and nurturing human connection while critiquing capitalist productions of space and ways of being. She draws on popular forms of entertainment and media to engage diverse audiences, especially those who have been historically devalued, ignored, and seen as burdens. She is the recipient of the 2021/22 City of Los Angeles (COLA) Individual Master Artist Fellowship in Design and Visual Arts, 2012 California Community Foundation for Visual Artists Emerging Artist Fellowship, and Foundation for Contemporary Arts Emergency Grant. She completed residencies at the Skowhegan School of Painting & Sculpture, Elizabeth Murray Artist Residency, Bemis Center for Contemporary Arts, and the Kohler Arts/Industry Residency in Foundry at the Kohler Company. Her work has been exhibited at the John Michael Kohler Arts Center, Verge Center for the Arts, Antenna, the Chinese American Museum Los Angeles, and most recently, her first museum solo exhibition “Grandma Entertainment Franchise” at the Vincent Price Art Museum in Monterey Park, CA.

Working across performance, sculpture, painting, sound and video, Azikiwe Mohammed is a crafter who builds physical spaces that include Blackness and the stories of the people of this land. Sometimes that land is physical, and other times it lives in our bodies. These attempts at land shapings have taken place at Canada Gallery, NY; Transformer, Washington, D.C.; The High Line, NY; California African American Museum, LA; Fairmount Water Works, Philadelphia, PA; John Michael Kohler Arts Center, Sheboygan, WI; The Studio Museum in Harlem, New York, NY; and MoMA PS1, Queens, NY; among others. Mohammed is the recipient of a Foundation for Contemporary Arts Grants to Artists Award (2023), a Rauschenberg Artists Fund grant (2021), a Rema Hort Mann Foundation Emerging Artist Grant (2016), and an Art Matters Foundation Award (2015). In 2022, he was featured on Art21’s New York Close Up digital-film series on artists living and working in New York City. Azikiwe Mohammed lives in New York, NY and has his studio in Newark as part of Project for Empty Space.


View the Program

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free with RSVP
RSVP


This special OPEN LAB celebrates the publication of Being Work – a collection of essays by dance and theater artists which offers access to varied experiences of performing in live exhibitions – edited by Dorothy Dubrule and published by Insert Press.

For the NYC book launch, Ryan McNamara moderates a conversation with Dubrule and fellow contributing authors effie bowen and Paul Hamilton, who read excerpts from their essays, share their experiences from visual art gigs, and, together with event attendees and local artists, co-envision an expansive future for performance labor in galleries, museums, and art fairs.

In Being Work, authors capture a spectrum of mundane and profound moments that arise within performance gig work in visual arts contexts such as museums, galleries, and art fairs, detailing the day-to-day practice of inhabiting art work as well as reflecting on broader questions of how they got there and the impact it has had on their outside lives. While providing very personal, human perspectives on what it feels like to perform in visual arts spaces, Being Work asks its audience how a performer’s labor is perceived and valued in these spaces, and what new possibilities might unfurl within the, at times fraught, coexistence of the two mediums.

Being Work will be available for purchase at the event, or can be ordered through Insert Press here. Contributors include: Mireya Lucio writing on being the work of Marina Abramović, Casey Brown on Maria Hassabi, Jessica Emmanuel on Xu Zhen, Kestrel Leah on Julien Previéux, Allie Hankins on Gordon Hall, effie bowen on Narcissister, Paul Hamilton on Bruce Nauman, and Dorothy Dubrule on Tino Sehgal.

View the Program


ABOUT THE ARTISTS

Dorothy Dubrule is a choreographer and performer based in Los Angeles. Her choreography is often made in collaboration with people who do not identify as dancers and has been performed in theaters as well as bars, clubs, galleries, sound stages, and sports arenas. The content of her choreography draws inspiration from film and community theater. Prior to moving to LA, she danced with DIY performance art collective Club Lyfestile and comedic fly girl crew Body Dreamz in Philadelphia. She has worked with visual artists, musicians, comedians, choreographers, and directors such as Emily Mast, Jon Daly, Kate Watson-Wallace, Lea Anderson, Lisel, Melinda Ring, Milka Djordjevich, Narcissister, Tino Sehgal, Trulee Hall, and Zoe Aja Moore, among others. Dorothy was the Executive Director of Pieter Performance Space, a non-profit platform for movement artists, healers and activists based in LA from 2017 to 2022. From arts non-profit leadership she transitioned to organizational operations with a focus on the care and resourcing of humans in the workplace.

effie bowen is an anti disciplinary artist making work that examines how obedience is enforced by objects and training. They have a BFA in Dance from Hollins University and an MFA in Sculpture + Extended Media from Virginia Commonwealth University.

Paul Hamilton, a Bessie-nominated dancer, began his training in Jamaica at the Jamaica School of Dance. After relocating to the United States, he continued his studies at SUNY Purchase under Kevin Wynn and Neil Greenberg. His dance repertoire includes performances with Elizabeth Streb, The Martha Graham Dance Ensemble, and The Barnspace Dance Company. In 2000, Paul embarked on a long-standing collaboration with Reggie Wilson Fist and Heel Performance Group, resulting in acclaimed works like Black Burlesque (revisited) and the Bessie-winning Big Brick. His thirst for knowledge led him to choreographer Keely Garfield, resulting in captivating pieces such as Scent of Mental Love and Telling the Bees. A pivotal moment arrived in 2014 when Paul teamed up with artist Ralph Lemon to create Chorus, an integral part of the Scaffold Room performance at The Kitchen. His outstanding contributions earned him a Bessie nomination. Paul’s journey continued with performances in Bessie-winning productions, including Jane Comfort’s 40th Anniversary Retrospective and David Thomson’s He his own mythical beast. Notably, he restaged Bruce Nauman’s Wall Floor Position at MoMA and MoMA PS1. Currently, Paul thrives in original works by Melinda Ring, Neil Greenberg, and Susan Marshall. He is currently a Movement Research Artist in Residence, and his choreographic work has been presented as part of the 2021 Performa Biennial in collaboration with artist Kevin Beasley, and at Movement Research at Judson Church. 

Ryan McNamara is a Brooklyn-based artist who works in performance, video, photography, drawing and sculpture. His work has been featured at MoMA PS1, The Guggenheim New York, Dallas Symphony Orchestra, ICA Boston, Perez Art Museum Miami, ICA London, The Garage Moscow, The Power Plant Toronto, the Athens Biennale, and The High Line New York. He teaches performance in the Hunter College MFA program and his work is included in the collections of the Museum of Modern Art and the Whitney Museum of American Art in New York.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


Since 2010, The Bushwick Starr’s annual Starr Reading Series has cultivated a diverse group of writers at all stages of their careers, who approach writing for the theater in thrilling and unexpected ways. Selected through an invited submission process by a rotating committee of curators – currently Jehan O. Young, Elizagrace Madrone, William Burke, and Machel Ross – the selected playwrights receive developmental support for a public staged reading of a new, usually unfinished, work. With The Bushwick Starr’s new permanent home currently under renovation, CPR is partnering for the fourth season to co-present this program, which unites the process-oriented missions of both organizations, and celebrates the incubation of new, experimental work in performance. The Starr Reading Series has previously supported new plays by writers including Whitney White, Clare Barron, Phillip Howze, Jackie Sibblies Drury, Haruna Lee, and many more.


Genevieve Simon: THIS BUG IS GAY

How do you translate your body? Do you secretly know you’re the least favorite child? Why do some words taste so good? How horny was Franz Kafka? What joy can we find by releasing the need to be understood? And how many blueberries can you fit in your mouth at once? All this and more at THIS BUG IS GAY, a solo queer cabaret in German, starring Gregor Samsa from Kakfa’s The Metamorphosis. You disgust me. You’re delightful. Let's be bugs together.

Genevieve Simon (they/them) is an Equity actor and writer who speaks imperfectly fluent German. They're a 2023-24 New Georges Audrey Resident and a 2023 Semi-Finalist for the Page 73 Playwriting Fellowship. Genevieve’s work has been supported by Actors Theatre of Louisville, The Puffin Foundation, The Brick, The Tank, Arts on Site, Shadowland Stages, and The Parsnip Ship.


Additional Spring 2024 Starr Reading Series programs:

Tues, February 27 at 7 P.M.
Deneen Reynolds-Knott: WHILE WE'RE HERE

Weds, February 28 at 7 P.M.
Aeon Andreas: GODSPUNK

Thurs, February 29 at 7 P.M.
Utkarsh Rajawat: lil nagins: a photorealist rendering of the Tutor Time near Yardley, PA circa 1999

Tues, March 5 at 7 P.M.
Avi Amon: MOTHER/ROAD

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


Since 2010, The Bushwick Starr’s annual Starr Reading Series has cultivated a diverse group of writers at all stages of their careers, who approach writing for the theater in thrilling and unexpected ways. Selected through an invited submission process by a rotating committee of curators – currently Jehan O. Young, Elizagrace Madrone, William Burke, and Machel Ross – the selected playwrights receive developmental support for a public staged reading of a new, usually unfinished, work. With The Bushwick Starr’s new permanent home currently under renovation, CPR is partnering for the fourth season to co-present this program, which unites the process-oriented missions of both organizations, and celebrates the incubation of new, experimental work in performance. The Starr Reading Series has previously supported new plays by writers including Whitney White, Clare Barron, Phillip Howze, Jackie Sibblies Drury, Haruna Lee, and many more.


Avi Amon: MOTHER/ROAD

MOTHER/ROAD is a multimedia musical meditation on grief, memory, and borders, using the cassette tapes my parents brought when they immigrated to this country... as keys to other dimensions. Examining that journey from Istanbul to the U.S. as the nexus between past and future generations, this piece seeks to dissect what things we carry with us; what fragments of identity we barely remember; and the weight of what is left behind. And hopefully, we’ll create pathways for our daughter to sing with her ancestors.

Avi Amon is an award-winning, Turkish-American composer and sound artist. Recent work includes music, songs, and sound design for projects at: Ars Nova, Disney, HBO, Hulu, The Kennedy Center, NYTW, Oregon Shakespeare, PAC, The Public, Target Margin, and Tribeca Film Festival, among others. Avi is the resident composer at the 52nd Street Project and teaches at NYU.


Additional Spring 2024 Starr Reading Series programs:

Tues, February 27 at 7 P.M.
Deneen Reynolds-Knott: WHILE WE'RE HERE

Weds, February 28 at 7 P.M.
Aeon Andreas: GODSPUNK

Thurs, February 29 at 7 P.M.
Utkarsh Rajawat: lil nagins: a photorealist rendering of the Tutor Time near Yardley, PA circa 1999

Weds, March 6 at 7 P.M.
Genevieve Simon: THIS BUG IS GAY

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Tickets: $10, $15, $20, $25, $50, sliding scale
Purchase Tickets


TAK Ensemble premieres Jessie Cox's Censored Sounds: Structural Erasure, an evening length work that centers perspective as it pertains to sound and acoustic perception. 

“It is a well-known fact that some of the photos that helped document the Holocaust were taken by Nazis. It is a well-known fact who lynched the Negroes. The Nazis tried to erase their own violence. Lynching happened both without record but also as mass spectacle with souvenirs. How many Black lives are taken by societal violence? The forgetting of George Floyd and Black Lives Matter is happening faster than time. Repression is a formal thing: “I am going to tell you what I am not.” Its form is just as important and defining as its content, if not more. Repression and false memory are the same: they both profess something by negating it. “I have already told you this. I already know this.” A déjà vu, a false memory, this way I don’t have to hear anything here. AGAIN: Repression is a formal thing: “I am going to tell you what I am not, which is really what I am” Its form is just as important and defining as its content, if not more. Repression and false memory are the same: they both profess something by negating it. “I already know this. It has already been done. I have already seen it.” A déjà vu, it’s a false memory, this way I don’t have to hear anything here. I am not listening.”
— JESSIE COX

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


Since 2010, The Bushwick Starr’s annual Starr Reading Series has cultivated a diverse group of writers at all stages of their careers, who approach writing for the theater in thrilling and unexpected ways. Selected through an invited submission process by a rotating committee of curators – currently Jehan O. Young, Elizagrace Madrone, William Burke, and Machel Ross – the selected playwrights receive developmental support for a public staged reading of a new, usually unfinished, work. With The Bushwick Starr’s new permanent home currently under renovation, CPR is partnering for the fourth season to co-present this program, which unites the process-oriented missions of both organizations, and celebrates the incubation of new, experimental work in performance. The Starr Reading Series has previously supported new plays by writers including Whitney White, Clare Barron, Phillip Howze, Jackie Sibblies Drury, Haruna Lee, and many more.

Utkarsh Rajawat: lil nagins: a photorealist rendering of the Tutor Time near Yardley, PA circa 1999

welcome to daycare!!! don't fckng kill anyone!!!!!

*Content warning: Contains graphic violence, murder/death, sexual assault, child abuse, domestic violence, racism/fatphobia/bigotry.

Utkarsh Rajawat is following the call of Rasha Abdulhadi, who they know of through “Notes on Craft” by Fargo Nissim Tbakhi, to use their bio to uplift resistance efforts against the US-sponsored, Israeli  genocide of Palestinians. You can contribute to the movement by donating food baskets, e-Sims, endorsing PACBI, attending an action, engaging in BDS, calling your representatives. I hope more institutions are moved to full-throated support, with their words, their resources, their (divestment from Israeli) money, as Palestinian people like those of The Freedom Theatre have been asking for. You can contact PACBI@wawog.org if you have questions or concerns, including legal ones, about your cultural or academic organization’s commitment. From the river to the sea, Palestine will be free.


Additional Spring 2024 Starr Reading Series programs:

Tues, February 27 at 7 P.M.
Deneen Reynolds-Knott: WHILE WE'RE HERE

Weds, February 28 at 7 P.M.
Aeon Andreas: GODSPUNK

Tues, March 5 at 7 P.M.
Avi Amon: MOTHER/ROAD

Weds, March 6 at 7 P.M.
Genevieve Simon: THIS BUG IS GAY

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


Since 2010, The Bushwick Starr’s annual Starr Reading Series has cultivated a diverse group of writers at all stages of their careers, who approach writing for the theater in thrilling and unexpected ways. Selected through an invited submission process by a rotating committee of curators – currently Jehan O. Young, Elizagrace Madrone, William Burke, and Machel Ross – the selected playwrights receive developmental support for a public staged reading of a new, usually unfinished, work. With The Bushwick Starr’s new permanent home currently under renovation, CPR is partnering for the fourth season to co-present this program, which unites the process-oriented missions of both organizations, and celebrates the incubation of new, experimental work in performance. The Starr Reading Series has previously supported new plays by writers including Whitney White, Clare Barron, Phillip Howze, Jackie Sibblies Drury, Haruna Lee, and many more.


Aeon Andreas: GODSPUNK

GODSPUNK is a maximalist, experimental, transgender, transexual, gay, gothic farce. Our host is having a party! They didn’t know we were going to have a party. But as it turns out, we’re having one, whether you like it or not. This party has everything: uninvited guests, fabulous dancing, lots of gin, a tart, a pimple, a mysterious and strange mechanic (he was invited), a telephone with sentience, and abject faggotry. All we can do is wait for it all to spiral.

Aeon Wade Andreas (they/he) is a trans-masculine, trans-disciplinary, maximalist director/performer working in the fields of theater, film, dance, and drag. As a director and drag artist (named God Complex), most of their work focuses on queer transformation. Through the use of Presence, performed ritual, and faggotry, Aeon attempts to hold opulent darkness and abject joy in the same hand. Culturebot calls Aeon "Always Rapturous." Friends call them "hot and difficult."


Additional Spring 2024 Starr Reading Series programs:

Tues, February 27 at 7 P.M.
Deneen Reynolds-Knott: WHILE WE'RE HERE

Thurs, February 29 at 7 P.M.
Utkarsh Rajawat: lil nagins: a photorealist rendering of the Tutor Time near Yardley, PA circa 1999

Tues, March 5 at 7 P.M.
Avi Amon: MOTHER/ROAD

Weds, March 6 at 7 P.M.
Genevieve Simon: THIS BUG IS GAY

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


Since 2010, The Bushwick Starr’s annual Starr Reading Series has cultivated a diverse group of writers at all stages of their careers, who approach writing for the theater in thrilling and unexpected ways. Selected through an invited submission process by a rotating committee of curators – currently Jehan O. Young, Elizagrace Madrone, William Burke, and Machel Ross – the selected playwrights receive developmental support for a public staged reading of a new, usually unfinished, work. With The Bushwick Starr’s new permanent home currently under renovation, CPR is partnering for the fourth season to co-present this program, which unites the process-oriented missions of both organizations, and celebrates the incubation of new, experimental work in performance. The Starr Reading Series has previously supported new plays by writers including Whitney White, Clare Barron, Phillip Howze, Jackie Sibblies Drury, Haruna Lee, and many more.


Deneen Reynolds-Knott: WHILE WE'RE HERE

When the Hummingbird Triangle, a field in a small town, transforms into an anonymously donated rain garden, a chorus of detractors emerge to commence a stealth mission to reveal the secret donor. WHILE WE'RE HERE is an exploration of suburban paranoia, the privatization of good deeds and the uniting properties of negativity.

Deneen Reynolds-Knott’s plays include SHOEBOX PICNIC ROAD SIDE: ROUTE ONE, (World Premiere at Alabama Shakespeare Festival, Fall 2021), BABES IN HO-LLAND (2020 BAPF, Upcoming 2024 Production, Shotgun Players), and PARTICULARLY MEDDLESOME ANCESTORS ( 2023 O’Neill National Playwrights Conference Finalist, 2022 Ingram New Works Festival,  Nashville Rep).


Additional Spring 2024 Starr Reading Series programs:

Weds, February 28 at 7 P.M.
Aeon Andreas: GODSPUNK

Thurs, February 29 at 7 P.M.
Utkarsh Rajawat: lil nagins: a photorealist rendering of the Tutor Time near Yardley, PA circa 1999

Tues, March 5 at 7 P.M.
Avi Amon: MOTHER/ROAD

Weds, March 6 at 7 P.M.
Genevieve Simon: THIS BUG IS GAY

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Tickets: $10, $15, $20, $25, sliding scale
(note: $10-$20 tickets are limited)
Purchase Tickets


Radio gives order to chaos, domesticating natural and geopolitical forces into the rhythms of daily routine. In Iceland and Aotearoa/New Zealand, radio has had an especially defining impact. The radio archives of these “remote island nations” are full of little dramas in which the global sagas of the last century play out on kitchen-counter stages.

Celeste Oram, Keir GoGwilt & Ensemble Adapter present Varpcast, a zany live radio show that – with music, multilingual banter, and technological sleights of hand – talks back to this archive, and to the 20th century, from the network of islands the show's creators call home. These island stories offer much to considerations of the future, and what constitutes self-determination in a globally indebted world. Because everywhere is far away from somewhere – yet no-one, and no nation, is an island.


Varpcast is created with support from APRA AMCOS, Creative New Zealand, Berlin Hauptstadtkulturfonds, Deutschlandfunk Kultur, Ultraschall Festival. Qubit's programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.

Tickets: $0-$25, pay what you can
Purchase Tickets

For OPEN STUDIOS, 2024 Artist-in-Residence Leo Chang curates Noise x Movement, bringing together artists who embrace the performative within their noise/sound-making practice, including Qiujiang Levi Lu, Lucie Vitková in a duet with Chang, and Kwami Winfield. Movements can observably influence sound; simultaneously, within this relationship, there is an emotional resonance between the body and vibration. In Noise x Movement, artists experiment with different forms of dependence and relationships with objects and instruments, and perform expressions of bodily and sonic liberation and resistance.

Qiujiang Levi Lu: Metanoia, for One Augmented Body
Metanoia, for One Augmented Body is a solo performance that explores the artist’s journey with body dysmorphia. In this work, Qiujiang Levi Lu is amplifying their internal body; muscle stretches, joint cracks, bone-conducted vibrations, and body movement become audible and palpable in the performance space. A microphone is inserted into Lu’s body thru their anus, and sounds are amplified by subwoofers in the room with processing. They also place a custom-built speaker in their mouth to create feedback with the headset microphone, so that they are able to use their voice to control the feedback.

Lucie Vítková with Leo Chang: Earth Eater x VOCALNORI
Leo Chang performs with his VOCALNORI instrument, where gongs are amplified through electronic instruments and voice. Lucie Vítková brings Earth Eater, a performative being who communicates through sound and light in space. The duo comes together to interact from within these two established bodies.

Kwami Winfield: Dissances
A new work for brass and electronics applying feedback in various scales of space within distinct cavities: trumpets, studios, amplifiers, sinuses.

View the Program

OPEN STUDIOS is a series of work-in-progress showings held regularly throughout the year, organized by guest curators, and serves as an incubator for new work, inviting the public into the artistic process.


ABOUT THE ARTISTS

Leo Chang (curator) is a Korean improviser, composer, and performer of experimental music. Born in Seoul, Leo lived as an expat in Singapore, Taipei, and Shanghai, until moving to the United States in 2011. His art is an act of homemaking inspired by various musical and ideological movements that have sought to question power dynamics and imagine egalitarian possibilities. His primary methods are free improvisation, written text, graphical notation, and electronic processing. Leo's projects have been presented and supported by the Vision Festival, Roulette Intermedium, Korea Foundation, Ostrava Days New Music Festival, New York City Electro-Acoustic Music Festival, Brooklyn Arts Council, and EMPAC at Rensselaer, among others. His various performances and collaborations have been with William Parker, Alex Zhang Hungtai, Che Chen, gamin, DoYeon Kim, eddy kwon, Miriam Parker, Lucie Vítková, Chris Williams, Lester St. Louis, Jason Nazary, S.E.M. ensemble, the Rhythm Method, and the JACK quartet. Leo holds a PhD in Electronic Arts from Rensselaer Polytechnic Institute. www.listentoleo.com

Qiujiang Levi Lu/卢秋江 (they/them) is a Beijing-born, New Jersey-based experimental improviser, composer, and lecturer at the University of Pennsylvania. As an improvising performer, Lu utilizes custom-built feedback-driven electronic instruments, voice, and amplified muscle movements to deliver visceral, raw, and intimate performance. In addition to performing, Lu also writes for acoustic and electronic musicians and improvisers. Lu’s works have been performed at major festivals, conferences, and venues such as DiMenna Center, HighZero Festival, Spencer Museum of Art, Jazz Showcase, IRCAM Forum, SEAMUS conference, NIME conference, Elastic Arts, Oberlin MMG, Rhizome DC, and NowNet Arts conference.

Lucie Vítková is a composer, improviser, and performer (accordion, hichiriki, drums, synthesizer, harmonica, voice, and dance) from the Czech Republic, living in New York. Their compositions focus on sonification (compositions based on abstract models derived from physical objects), while in their improvisation practice, Lucie works with the characteristics of discrete spaces through the interaction between sound and movement. In Lucie’s recent work, they are interested in the social-political aspects of music in relation to everyday life and in reusing trash to build sonic costumes and instruments. www.vitkovalucie.com

Kwami Winfield is a multi-disciplinary sound artist, composer, and improviser born in Jersey City and based in Brooklyn. Winfield works with trumpet, electronics, percussion, trash, rocks, and other objects and collaborators, and is led by a fascination with the sticky, noisy, and often grotesque circuitry of everyday accumulation, consumption, and waste. Involved with a growing number bands including Turnip King, Next Bus Pls, Mimé, Many Many Girls, Camp Rock, Mom + Anon, Piss, Under the Hands of Eachother, and several unnamed collaborative projects with artists and people such as Nana XOXO, Lucy York, C. Spencer Yeh, Leo Chang, and Rémy Bélanger de Beaufort. Big love. Winfield has developed her interdisciplinary collaborations as a Pioneer Works Music Resident (2023), an Artist in Residence at Chaos Computer (2023), and in ongoing compositional contributions to the works of choreographers Arien Wilkerson and Kyle Marshall. Alongside Cal Fish, Winfield co-runs and has released music on Call Waitn, a DIY label and toll free hotline featuring underground sounds at 917-426-4260.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Tickets:$10
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The award-winning W&L Repertory Dance Company presents an evening of guest artist, faculty, and student choreographed works. Danced by Washington and Lee University alumni and students, this concert features a broad range of thematic concepts grounded in artistically vibrant contemporary dance.

Dancers include Rasaq Lawal ’10, Elliot Emadian ’17, Runa King ‘21, Amalia Nafal ‘21, Mary Pace Lewis ‘21, Angela Tu ‘24, Lily Petsinger ‘24, Lizzy Helwig ’24, Madison Lilly ‘25, Michell Lin ‘25, Sierra Johnson ‘25, Cindy Xie ‘25, Cassandra Dalton ‘25, Sophia Soderberg ‘25, Olesia Soukhoveev ’25, Elise McPherson ’26, and Mikaela Schon ‘27.

$15 General Admission
$10 Students/Seniors
Purchase Tickets


Weds, January 10 at 7:30 P.M.
Thurs, January 11 at 7:30 P.M.
Fri, January 12 at 7:30 P.M.
Sat, January 13 at 7:30 P.M.


The 50th Anniversary of Time & Space Limited (TSL) marks a milestone in the history of American experimental theater, dance, performance, and related forms, now being celebrated with a NYC premiere of SAID & DONE, a new performance work by Linda Mussmann in collaboration with Claudia Bruce and Charlotte Stickles.

SAID & DONE unfolds over the course of one riveting hour as a mosaic of danced, spoken, and visually choreographed performance. Mussmann's masterfully crafted structure includes nimble partnering between performers Bruce and Stickles, who form two points in the production's three-body question, and proposition: an unsolvable mathematical problem of determining the motions of three bodies moving through space under no influence other than that of their mutual gravitation.

Life-long collaborators Bruce and Mussmann are showcasing, during this 50th Anniversary, their performance mastery at providing the time and space for versatile texts to live in the moment: their give-and-take style is highly visible in this performance. Stickles balances the multiple challenges of voice and movement while seamlessly interacting with the TSL co-founders, in a searingly memorable performance.

This production of SAID & DONE presents a literal embodiment of dance and theater history, being shared and passed along from two established performance artists, to an up-and-coming knockout performer ready to carry the legacy forward.

Elements of the production (signatures of Mussmann's work) include a gridded floor, and a custom-designed lighting rig, featuring signature rheostat dimmers which Mussmann operates by hand. Originally workshopped and presented to inaugurate The Hudson Eye Festival 2023, to critical acclaim, SAID & DONE  was created with the specific proportions of CPR – Center for Performance Research in mind. These performances catalyze a tour for TSL, onboarding partnerships, and broadening awareness of the TSL legacy, while making TSL's history accessible to new generations, whose performance research has been impacted by their pioneering early work.

These performances are made possible by generous support from Jonah Bokaer Arts Foundation and its Board Of Directors, Jeffrey Oakes, and Jeff Sidell, and major philanthropists of the performing arts. 

$15 General Admission
$10 Students/Seniors
Purchase Tickets


Weds, January 10 at 7:30 P.M.
Thurs, January 11 at 7:30 P.M.
Fri, January 12 at 7:30 P.M.
Sat, January 13 at 7:30 P.M.


The 50th Anniversary of Time & Space Limited (TSL) marks a milestone in the history of American experimental theater, dance, performance, and related forms, now being celebrated with a NYC premiere of SAID & DONE, a new performance work by Linda Mussmann in collaboration with Claudia Bruce and Charlotte Stickles.

SAID & DONE unfolds over the course of one riveting hour as a mosaic of danced, spoken, and visually choreographed performance. Mussmann's masterfully crafted structure includes nimble partnering between performers Bruce and Stickles, who form two points in the production's three-body question, and proposition: an unsolvable mathematical problem of determining the motions of three bodies moving through space under no influence other than that of their mutual gravitation.

Life-long collaborators Bruce and Mussmann are showcasing, during this 50th Anniversary, their performance mastery at providing the time and space for versatile texts to live in the moment: their give-and-take style is highly visible in this performance. Stickles balances the multiple challenges of voice and movement while seamlessly interacting with the TSL co-founders, in a searingly memorable performance.

This production of SAID & DONE presents a literal embodiment of dance and theater history, being shared and passed along from two established performance artists, to an up-and-coming knockout performer ready to carry the legacy forward.

Elements of the production (signatures of Mussmann's work) include a gridded floor, and a custom-designed lighting rig, featuring signature rheostat dimmers which Mussmann operates by hand. Originally workshopped and presented to inaugurate The Hudson Eye Festival 2023, to critical acclaim, SAID & DONE  was created with the specific proportions of CPR – Center for Performance Research in mind. These performances catalyze a tour for TSL, onboarding partnerships, and broadening awareness of the TSL legacy, while making TSL's history accessible to new generations, whose performance research has been impacted by their pioneering early work.

These performances are made possible by generous support from Jonah Bokaer Arts Foundation and its Board Of Directors, Jeffrey Oakes, and Jeff Sidell, and major philanthropists of the performing arts. 

$15 General Admission
$10 Students/Seniors
Purchase Tickets


Weds, January 10 at 7:30 P.M.
Thurs, January 11 at 7:30 P.M.
Fri, January 12 at 7:30 P.M.
Sat, January 13 at 7:30 P.M.


The 50th Anniversary of Time & Space Limited (TSL) marks a milestone in the history of American experimental theater, dance, performance, and related forms, now being celebrated with a NYC premiere of SAID & DONE, a new performance work by Linda Mussmann in collaboration with Claudia Bruce and Charlotte Stickles.

SAID & DONE unfolds over the course of one riveting hour as a mosaic of danced, spoken, and visually choreographed performance. Mussmann's masterfully crafted structure includes nimble partnering between performers Bruce and Stickles, who form two points in the production's three-body question, and proposition: an unsolvable mathematical problem of determining the motions of three bodies moving through space under no influence other than that of their mutual gravitation.

Life-long collaborators Bruce and Mussmann are showcasing, during this 50th Anniversary, their performance mastery at providing the time and space for versatile texts to live in the moment: their give-and-take style is highly visible in this performance. Stickles balances the multiple challenges of voice and movement while seamlessly interacting with the TSL co-founders, in a searingly memorable performance.

This production of SAID & DONE presents a literal embodiment of dance and theater history, being shared and passed along from two established performance artists, to an up-and-coming knockout performer ready to carry the legacy forward.

Elements of the production (signatures of Mussmann's work) include a gridded floor, and a custom-designed lighting rig, featuring signature rheostat dimmers which Mussmann operates by hand. Originally workshopped and presented to inaugurate The Hudson Eye Festival 2023, to critical acclaim, SAID & DONE  was created with the specific proportions of CPR – Center for Performance Research in mind. These performances catalyze a tour for TSL, onboarding partnerships, and broadening awareness of the TSL legacy, while making TSL's history accessible to new generations, whose performance research has been impacted by their pioneering early work.

These performances are made possible by generous support from Jonah Bokaer Arts Foundation and its Board Of Directors, Jeffrey Oakes, and Jeff Sidell, and major philanthropists of the performing arts.