Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Tickets $5, $15, $25, pay what you can
Purchase Tickets

Proceeds go to Bluestockings Cooperative


A double feature of new performance works by geo blake and Kerosene Jones for the artists’ MFA thesis projects in the Performance and Interactive Media Arts (PIMA) Program at Brooklyn College. Proceeds from the program go Bluestockings Cooperative, a collectively-run activist center, community space and feminist bookstore that offers mutual aid, harm reduction support, and non-judgemental resource research, who will be providing Fentanyl and Xylazine testing strips and Narcan training on-site for attendees. 


PROGRAM

geo blake: Under the Hood: Fiducial Romance
Through an interplay of live performance and mediated fragments, Under the Hood: Fiducial Romance, by geo blake and featuring Alanna Archibald, examines the intimacy embedded in economies of care, trust, and extraction. Merging movement, voice, transducers, and projected imagery, and drawing from the iconography of the automobile as both a site of fetishization and labor, Under the Hood engages with themes of objectification, autonomy, and the blurred lines between maintenance and possession. 

Kerosene Jones: Blue Lightning Ghost Train: Inpatient Program 1
Blue Lightning Ghost Train: Inpatient Program 1 is the first phase of an experimental song, video, and performance cycle created and performed by Kerosene Jones, using archival materials to explore queer responses to harm reduction, particularly in regards to the ongoing opioid crisis, and drawing from Jones's personal experiences with opioid addiction. The development of the Blue Lightning Ghost Train series has received support from New York State Council on the Arts (NYSCA) and a CUNY Social Practice Fellowship, and features mix engineering by Bassel Al-Rahim.


ABOUT THE ARTISTS

Las Vegas-born and Brooklyn-based, geo blake is a performance artist whose work illuminates the tensions between identity, perception, and the economies of intimacy. Using voice, composition, sculpture, and movement, they disassemble and reconfigure power structures—transforming control into collaboration, voyeurism into communion. Their performances unfold as sonic and physical negotiations, unsettling the boundaries between observer and participant, and exploring gender as both a site of play and resistance.

Kerosene Jones is a writer, curator, and interdisciplinary artist whose work explores extended vocal technique, queer hauntologies, and archival necromancy. Utilizing unorthodox compositional techniques and experimental research procedures, Jones endeavors to provide both sonic and ceremonial sanctuary for hungry ghosts with unfinished business. His work across mediums has been featured by Art Omi, BBC Radio 4, Black Mountain College Museum, CPR - Center For Performance Research, Montez Press Radio, Wave Farm, The Poetry Project, and Onassis USA. His arts & culture writing has been published by Interview Magazine, Document Journal, X-TRA, Screen Slate, MUBI Notebook, The Brooklyn Rail, The Kitchen Magazine, and LAMBDA Literary. He was a founding member of the poetry and performance collective The Anchoress Syndicate, and the host of the podcast “Pure Garbage: An Oral Examination of John Waters.” He is the Programs Manager at CPR - Center for Performance Research, and the Arts Editor of WUSSY Magazine, a queer arts & culture organization and biannual print publication based in Atlanta, GA.

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


In this OPEN STUDIOS, Abrons Arts Center 2024-26 Performance AIRSpace Residents Cleo Reed and Symara Sarai will share works in process. The Performance AIRspace Residency supports a cohort of two early career performing artists for a project development residency and premiere at Abrons Arts Center.

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.

View the Program

PROGRAM

Cleo Reed: cuntry: wip
Cleo Reed arrives with a work in process performance meant to address labor both in the body and the workplace. Reed will preview original music manifested into a new character — the working mule. The album that accompanies this work is set to be released in July 2025. Reed will be accompanied by Natalia Catalan on bass guitar. As well, cuntry: wip features original work choreographed by Cemiyon Barber and Chanel Stone. 

Symara Sarai: Angelic Architectures This is a performance experiment that showcases the inner anarchy of black queer femininity blown out the stage space. With this work I create scores for three dancers including myself that enliven, awaken, and honor our urges.  The scores ask us what do we want to do right now and what does that look like? I give us the permission to be indulgent, we honor the practice of doing what we want, when we want–a mode often denied to us by systems beyond our control. I am opening the portal to performance as an act of protest against set expectations for black femininity and showing the expansion that it holds.

ABOUT THE ARTISTS

Ella Josephine Julia Moore aka Cleo Reed is a multi-disciplinary artist whose practices uses participatory art, music composition, instrument-making, bandleading, installation, and fabric arts. Under the alias Cleo Reed, they complete musical projects that are rooted in their ancestral and cultural lineage. Recently, they developed software instruments for Jon Batiste’s American Symphony at Carnegie Hall. Their debut album project Root Cause was released in 2023 and alongside the work they premiered a self-directed performance art piece titled Black American Circus at AFROPUNK Festival, Banlieues Bleues in Paris, and Brooklyn Museum. They work toward a future that enables them to realize intentional creative endeavors and encourage joy within collaborative spaces such as museums, theaters, and unseen spaces. In their practice, they are currently drawn to notions of tradition, dissolving the binary, making noise, and breaking the barrier between artist and audience.

Symara Sarai, a Portland, OR native currently residing in Brooklyn, has immersed herself in interdisciplinary and choreographic studies globally. A 2023 Bessie Award winner for Breakout Choreographer, Symara is also a recipient of the Dai Ailian Foundation Scholarship based in Trinidad and Tobago. The scholarship led her to Beijing, China where she spent two years gaining an associate degree in modern choreography at the renowned Beijing Dance Academy. Symara is a 2019 graduate of SUNY Purchase’s Conservatory of Dance Program. She was a resident artist for Bearnstow, Gibney 6.2 Work Up, Gallim’s 2022 Moving Artist’s Residency, BAX’s Fall 2022 Space Grant Program, and CPR – Center for Performance Research’s 2022 AiR Program. She is a 2023/2024 New York Live Arts Fresh Tracks Artist and a 2023/2024 Women in Motion Commissioned artist. Their work as a performer and maker has been reviewed and featured in the New York Times, Dance Enthusiast, and Fjord, and promoted through Forbes. She has had multiple film works commissioned by Berlin-based choreographer Christoph Winkler. They have presented work at New York Live Arts, The Clarice at UMD, The LGBT Center, Judson Church, BAAD, Kestrels, and other venues throughout the United States, China, and Germany. She is currently an Urban Bush Women company member. She has also notably worked with Jasmine Hearn, Ogemdi Ude, Pioneers Go East Collective, Kevin Wynn, Joanna Kotze, Nattie Trogdon+Hollis Bartlett, and Slowdanger, among others.

Free, RSVP required (limited audience)
RSVP


Tues, April 8 from 7-8PM
Tues, April 15 from 7-8PM
Tues, April 22 from 7-8PM
Tues, May 6 from 7-8PM


In this weekly performance series, 2025 Artist-in-Residence Kat Sotelo invites the audience into her research surrounding seductive, ephemeral worlds – fantasies staged as a peep show for intimate consumption. Indulge in humiliation or glory as she enacts tropes of Filipino subservience. Let boundaries blur between spectator and spectacle, sensation and transaction. What is being revealed, exchanged, exploited? Who is in control? Become the voyeur, the voyeur of the voyeur, the object of desire, the furniture, the wall.


ABOUT THE ARTIST

Kat Sotelo is a first-generation Filipino American performance artist, choreographer, and set designer whose practice blends movement, satire, and constructed environments. She explores the body as a site of commerce, often using her experience in "exotic" dance to examine fantasy and cultural hybridity. As a film industry professional, Sotelo’s compositions also integrate elements of cinema to create layered realities. Her current body of work focuses on eroticism and servitude through a Filipino American lens – at the intersection of nostalgia, rage, and melancholy. By weaving video, personal archives, and Philippine folk traditions, she critiques the commodification of art and identity with humor and pop visions. Sotelo is currently an Artist-in-Residence at Movement Research (2024-2026) and CPR – Center for Performance Research (2025). 

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


Sun, May 4 at 3PM (w/ Sophia Parker)
Sun, May 4 at 6PM (w/ Glenn Potter-Takata)
Mon, May 5 at 7PM (w/ Lena Engelstein)


Comedy Pilates is a fitness parody, an interview series, and a workout. As instructor and host, artist, choreographer, and certified Pilates teacher Amelia Heintzelman guides humbling exercises while interviewing select participants (maybe even you!) about life, work, and art. Special guests and surprise performances will keep you guessing. Using CPR’s suite of film equipment for a live, multi-camera shoot, each class will be filmed and subsequently edited into a 10-minute Hot Ones-style episode, archiving these intimate and vulnerable conversations between creatives while embracing humor, clumsiness, and humility in the service of physical and professional optimization. No Pilates experience needed, be ready to sweat, costumes welcome.

Comedy Pilates will be a 1-hour class, and will be filmed. Please bring your own mat, and wear clothes (or a costume) that you can move in. There is no shower available at CPR, and please note that there is limited private changing space.


CREDITS

Conceived and directed by Amelia Heintzelman
with Leah Fournier, teaching assistant; Tess Michaelson, dramaturg

Special guests:
Sophia Parker, dancer and dramaturg (May 4 at 3PM)
Glenn Potter-Takata, media designer and artist working in performance (May 4 at 6PM)
Lena Engelstein, dancer, performer, and choreographer (May 5 at 7PM)

Additional Performers: Sofia Engelman, Em Papineau, Skjold Rambow, Justin Sterling


ABOUT THE ARTISTS

Amelia Heintzelman is a dancer, choreographer, and teacher. Her work has been shown at CPR – Center for Performance Research, Draftwork at Danspace Project, Lubov Gallery, Movement Research at the Judson Church, Pageant, and Snug Harbor. Her work has been supported by residencies and grants through Atlantic Center for the Arts, Foundation for Contemporary Arts, UCross Foundation, and University Settlement. Most recently, she has worked as a collaborating performer for Jesi Cook, Ayano Elson, Deborah Hay, evan ray suzuki, and Alexa West. She is on teaching faculty at Movement Research and Pageant, and sometimes/rarely teaches Comedy Pilates. www.ameliakh.com

Sophia Parker is a dancer and dramaturg from Berkeley, CA. She received her BFA in Dance from Fordham University/The Ailey School. Sophia has dramaturged works by Scottie Harvey, Amelia Heintzelman, and Sacha Vega. Most recently, she performed in and dramaturged G R A P H, a new work by Sidra Bell, which was presented by The Metropolitan Museum of Art as part of their Flight Into Egypt exhibition.

Glenn Potter-Takata (Bronx, NY) is a Japanese-American media designer and artist working in performance. His practice is somatic-based, utilizing butoh, improvisation, media equipment, and consumer materials to create performances around the body as a historical site in post-internment America. Preoccupied with the consumer culture runoff from the Japanese archipelago, Glenn juxtaposes the materiality of consumer detritus with his interests in Buddhist concepts of emptiness and Western notions of nothingness. Both rigorous and playful in his process, Glenn incorporates aspects of Buddhist philosophy and pedagogy into his work, but also sometimes performs wearing a giant Pikachu costume. glennpottertakata.com/about

Lena Engelstein is a dancer, performer, and choreographer. Her work has been dubbed “The High Weird” by critics and lauded as “subtly campy and hilariously queer” by the Brooklyn Rail. She has been part of the interdisciplinary performance collective CHILD, headed by Lisa Fagan, since 2019. Her recent work with Fagan Friday Night Rat Catchers premiered at New York Live Arts in March 2025 and their previous piece Deepe Darknesse was presented in Live Arts’ 2024 Live Artery festival. She has performed work by Alexa West, Barnett Cohen, Brendan Drake, Chafin Seymour, Falcon Dance (company member, 2018-present), Isa Spector, Owen Prum + Lili Dekker, Miguel Alejandro Castillo, and Third Rail Company (Then She Fell company member, 2019-2020). Engelstein has created new works with performer and director Magda San Millan and choreographer Jo Warren. She choreographs for and performs with the band Lou Tides. She has taught dance technique, improvisation, and directing at SUNY Brockport, Colorado Mesa University, Barnard College, University of Maryland, and The Field Center. Lena holds a B.A. in Mathematics from Colorado College. www.lenaengelstein.com 

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


Sun, May 4 at 3PM (w/ Sophia Parker)
Sun, May 4 at 6PM (w/ Glenn Potter-Takata)
Mon, May 5 at 7PM (w/ Lena Engelstein)


Comedy Pilates is a fitness parody, an interview series, and a workout. As instructor and host, artist, choreographer, and certified Pilates teacher Amelia Heintzelman guides humbling exercises while interviewing select participants (maybe even you!) about life, work, and art. Special guests and surprise performances will keep you guessing. Using CPR’s suite of film equipment for a live, multi-camera shoot, each class will be filmed and subsequently edited into a 10-minute Hot Ones-style episode, archiving these intimate and vulnerable conversations between creatives while embracing humor, clumsiness, and humility in the service of physical and professional optimization. No Pilates experience needed, be ready to sweat, costumes welcome.

Comedy Pilates will be a 1-hour class, and will be filmed. Please bring your own mat, and wear clothes (or a costume) that you can move in. There is no shower available at CPR, and please note that there is limited private changing space.


CREDITS

Conceived and directed by Amelia Heintzelman
with Leah Fournier, teaching assistant; Tess Michaelson, dramaturg

Special guests:
Sophia Parker, dancer and dramaturg (May 4 at 3PM)
Glenn Potter-Takata, media designer and artist working in performance (May 4 at 6PM)
Lena Engelstein, dancer, performer, and choreographer (May 5 at 7PM)

Additional Performers: Sofia Engelman, Em Papineau, Skjold Rambow, Justin Sterling


ABOUT THE ARTISTS

Amelia Heintzelman is a dancer, choreographer, and teacher. Her work has been shown at CPR – Center for Performance Research, Draftwork at Danspace Project, Lubov Gallery, Movement Research at the Judson Church, Pageant, and Snug Harbor. Her work has been supported by residencies and grants through Atlantic Center for the Arts, Foundation for Contemporary Arts, UCross Foundation, and University Settlement. Most recently, she has worked as a collaborating performer for Jesi Cook, Ayano Elson, Deborah Hay, evan ray suzuki, and Alexa West. She is on teaching faculty at Movement Research and Pageant, and sometimes/rarely teaches Comedy Pilates. www.ameliakh.com

Sophia Parker is a dancer and dramaturg from Berkeley, CA. She received her BFA in Dance from Fordham University/The Ailey School. Sophia has dramaturged works by Scottie Harvey, Amelia Heintzelman, and Sacha Vega. Most recently, she performed in and dramaturged G R A P H, a new work by Sidra Bell, which was presented by The Metropolitan Museum of Art as part of their Flight Into Egypt exhibition.

Glenn Potter-Takata (Bronx, NY) is a Japanese-American media designer and artist working in performance. His practice is somatic-based, utilizing butoh, improvisation, media equipment, and consumer materials to create performances around the body as a historical site in post-internment America. Preoccupied with the consumer culture runoff from the Japanese archipelago, Glenn juxtaposes the materiality of consumer detritus with his interests in Buddhist concepts of emptiness and Western notions of nothingness. Both rigorous and playful in his process, Glenn incorporates aspects of Buddhist philosophy and pedagogy into his work, but also sometimes performs wearing a giant Pikachu costume. glennpottertakata.com/about

Lena Engelstein is a dancer, performer, and choreographer. Her work has been dubbed “The High Weird” by critics and lauded as “subtly campy and hilariously queer” by the Brooklyn Rail. She has been part of the interdisciplinary performance collective CHILD, headed by Lisa Fagan, since 2019. Her recent work with Fagan Friday Night Rat Catchers premiered at New York Live Arts in March 2025 and their previous piece Deepe Darknesse was presented in Live Arts’ 2024 Live Artery festival. She has performed work by Alexa West, Barnett Cohen, Brendan Drake, Chafin Seymour, Falcon Dance (company member, 2018-present), Isa Spector, Owen Prum + Lili Dekker, Miguel Alejandro Castillo, and Third Rail Company (Then She Fell company member, 2019-2020). Engelstein has created new works with performer and director Magda San Millan and choreographer Jo Warren. She choreographs for and performs with the band Lou Tides. She has taught dance technique, improvisation, and directing at SUNY Brockport, Colorado Mesa University, Barnard College, University of Maryland, and The Field Center. Lena holds a B.A. in Mathematics from Colorado College. www.lenaengelstein.com 

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


Sun, May 4 at 3PM (w/ Sophia Parker)
Sun, May 4 at 6PM (w/ Glenn Potter-Takata)
Mon, May 5 at 7PM (w/ Lena Engelstein)


Comedy Pilates is a fitness parody, an interview series, and a workout. As instructor and host, artist, choreographer, and certified Pilates teacher Amelia Heintzelman guides humbling exercises while interviewing select participants (maybe even you!) about life, work, and art. Special guests and surprise performances will keep you guessing. Using CPR’s suite of film equipment for a live, multi-camera shoot, each class will be filmed and subsequently edited into a 10-minute Hot Ones-style episode, archiving these intimate and vulnerable conversations between creatives while embracing humor, clumsiness, and humility in the service of physical and professional optimization. No Pilates experience needed, be ready to sweat, costumes welcome.

Comedy Pilates will be a 1-hour class, and will be filmed. Please bring your own mat, and wear clothes (or a costume) that you can move in. There is no shower available at CPR, and please note that there is limited private changing space.


CREDITS

Conceived and directed by Amelia Heintzelman
with Leah Fournier, teaching assistant; Tess Michaelson, dramaturg

Special guests:
Sophia Parker, dancer and dramaturg (May 4 at 3PM)
Glenn Potter-Takata, media designer and artist working in performance (May 4 at 6PM)
Lena Engelstein, dancer, performer, and choreographer (May 5 at 7PM)

Additional Performers: Sofia Engelman, Em Papineau, Skjold Rambow, Justin Sterling


ABOUT THE ARTISTS

Amelia Heintzelman is a dancer, choreographer, and teacher. Her work has been shown at CPR – Center for Performance Research, Draftwork at Danspace Project, Lubov Gallery, Movement Research at the Judson Church, Pageant, and Snug Harbor. Her work has been supported by residencies and grants through Atlantic Center for the Arts, Foundation for Contemporary Arts, UCross Foundation, and University Settlement. Most recently, she has worked as a collaborating performer for Jesi Cook, Ayano Elson, Deborah Hay, evan ray suzuki, and Alexa West. She is on teaching faculty at Movement Research and Pageant, and sometimes/rarely teaches Comedy Pilates. www.ameliakh.com

Sophia Parker is a dancer and dramaturg from Berkeley, CA. She received her BFA in Dance from Fordham University/The Ailey School. Sophia has dramaturged works by Scottie Harvey, Amelia Heintzelman, and Sacha Vega. Most recently, she performed in and dramaturged G R A P H, a new work by Sidra Bell, which was presented by The Metropolitan Museum of Art as part of their Flight Into Egypt exhibition.

Glenn Potter-Takata (Bronx, NY) is a Japanese-American media designer and artist working in performance. His practice is somatic-based, utilizing butoh, improvisation, media equipment, and consumer materials to create performances around the body as a historical site in post-internment America. Preoccupied with the consumer culture runoff from the Japanese archipelago, Glenn juxtaposes the materiality of consumer detritus with his interests in Buddhist concepts of emptiness and Western notions of nothingness. Both rigorous and playful in his process, Glenn incorporates aspects of Buddhist philosophy and pedagogy into his work, but also sometimes performs wearing a giant Pikachu costume. glennpottertakata.com/about

Lena Engelstein is a dancer, performer, and choreographer. Her work has been dubbed “The High Weird” by critics and lauded as “subtly campy and hilariously queer” by the Brooklyn Rail. She has been part of the interdisciplinary performance collective CHILD, headed by Lisa Fagan, since 2019. Her recent work with Fagan Friday Night Rat Catchers premiered at New York Live Arts in March 2025 and their previous piece Deepe Darknesse was presented in Live Arts’ 2024 Live Artery festival. She has performed work by Alexa West, Barnett Cohen, Brendan Drake, Chafin Seymour, Falcon Dance (company member, 2018-present), Isa Spector, Owen Prum + Lili Dekker, Miguel Alejandro Castillo, and Third Rail Company (Then She Fell company member, 2019-2020). Engelstein has created new works with performer and director Magda San Millan and choreographer Jo Warren. She choreographs for and performs with the band Lou Tides. She has taught dance technique, improvisation, and directing at SUNY Brockport, Colorado Mesa University, Barnard College, University of Maryland, and The Field Center. Lena holds a B.A. in Mathematics from Colorado College. www.lenaengelstein.com 

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 4 (recently added!)
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Tickets: $25
Purchase Tickets


Friday, May 2 at 7:30 PM
Saturday, May 3 at 7:30 PM


A split-bill evening of dance that fuses two distinct yet interwoven choreographic works that explore the self through temporal and social dimensions. At their core, both pieces reflect on the fluidity of identity, the passage of time, and the complexity of human connection.

The first work, moment(o)moment by Eury German, draws from Nietzsche’s concept of the eternal return, exploring the cyclical nature of existence, where time loops endlessly, and every action reverberates with the weight of infinite return. Through the language of movement, this concept becomes a canvas for examining both personal and collective transformations. The choreography reflects how the body moves through time—not merely as a passive vessel, but as an active force that affirms and reaffirms itself with each cycle. As the dancer navigates these repeating moments, their movements question the metaphysical experience of time—how does the body return to itself, and how does it transform with every repetition? This work challenges the boundaries between personal identity and universal experience, making the cycle of time not only a philosophical reflection but also a visceral, embodied journey.

The second work, intero by Spenser Stroud, examines how choreographic structures influence emotional perception and social processing through somatosensory activation. In collaboration with Dr. Meletaki at the Penn Center for Neuroaesthetics, the work explores how anger and happiness manifest kinesthetically. Utilizing a sequential emotional discriminatory task, emotionally valent musical score initiated movement scores, which were mirrored and transmitted between dancers, serving as a metric for socio-emotional synergy. Additionally, the cardio-synchrony alignment task measured the dancers’ BPM through rhythmic intention cross referenced with radial pulse check-ins. Grounded in neurochoreographic principles, the piece merges improvisation with structured composition to balance raw authenticity and precision. intero ultimately challenges rigid emotional categorization, expanding the expressive depth of movement.


CREDITS

Eury German: moment(o)moment

Created & Performed by Eury German

Spenser Stroud: intero 

Created by Spenser Stroud in collaboration with artists
Performed by Kiara Benn, Demetris Charalambous, and Eury German
Set Design: Ro Miller
Music Score: Zach Salem


ABOUT THE ARTISTS

Eury German (he/him) is a dancer, choreographer, and dance professor based in NYC. A brown, queer, and immigrant artist born in the Dominican Republic, Eury's creative projects focus on the immigrant community, identity, being, and existence. Eury has a BA in Dance and Biology from Wesleyan University and a Master of Fine Arts in Dance Performance and Pedagogy from New York University's Tisch School of the Arts. He has danced with various NYC companies and choreographers including, but not limited to, Abdul Latif - D2D/T, Jennifer Muller The Works, Nimbus Dance Works, Ballet Hispanico, inDance | Toronto, James Swell Ballet, and more. His choreographic projects have been featured at Wesleyan University, the Alicia Alonso Institute of Dance at Rey Juan Carlos University in Madrid, and in various small NYC community dance festivals. Eury has taught at multiple universities and training programs in the United States and in Spain, where he completed a Fulbright research arts project from 2022-2023. v/sopao, Eury’s first international, evening length, self-produced work, premiered in Madrid, Spain in June of 2023. @eurygerm

Throughout Spenser Stroud’s (he/him) career as a young creative, his studies and work have centered on the intersection of applied neuroscience and performance art. Spenser began his studies by completing a certificate in contemporary dance at The Ailey School in NYC. He then obtained a B.A. degree in both Dance and Neuroscience from Wesleyan University, followed by an M.A. degree in Performance Studies from New York University. Spenser’s ongoing focus has been concurrent research in human cognition and contemporary choreography while seeking and exploring intersections of these realms. This dual focus has led him to a diverse array of professional appointments, ranging from researcher at The Center for Developmental Medicine at Boston Children’s Hospital to lead choreographer for Katie Pearl’s Slabber and artistic consultant at the Center for International Dance UNESCO. His novel creative approach, through the curation of choreographic aesthetics gleaned from empirical research techniques, has allotted him a range of abilities to tailor performance aimed at arousing the human psyche and to pair his art with complementary scientific analysis.

Live In-Person Event
Fri, June 13 at 7PM
Tickets $0-$25, pay what you can
Purchase tickets


Virtual Live-Streamed Episodes
Sat, May 3 at 10AM
Sat, May 17 at 12PM
Sat, June 7 at 12PM
Free. Tune in virtually via Instagram Live @crackheadbarneyandfriends__ or Twitch @crackheadbarney


Live from Crackhead Barney’s sweat-soaked mattress comes In Bed with Crackhead Barney: The Bed Wench Podcast, a series of conversations with fellow artists, derelicts, sworn enemies, and strangers from Plenty of Fish, consummating her signature ambush street interviews under the sheets. 

After getting down and dirty with guests during three steamy Saturday virtual broadcasts, 2025 Artist-in-Residence Crackhead Barney invites the public into her conjugal bed for a live, in-person podcast event at CPR on Friday, June 13, celebrating the imminent success of her 10,000-man Birthday Gang Bang Challenge.

Surprise guests to be announced.


ABOUT THE ARTIST

Crackhead Barney was born in Jamaica, Queens to strict religious parents who immigrated to America from Northern Nigeria. She was raised in a one bedroom apartment with her siblings in an era before wokeness and identity politics ruled the cultural landscape and was always taunted for her immigrant African roots and dark complexion. She studied Fine Arts and Media at Hunter College and was told her artwork wasn't shit. Rejected from museums and galleries, she decided to take matters into her own hands and use the streets of NYC as her canvas, painting pictures with her body across the landscape without the need to satisfy the desires of the cultural institutions. Her street performances garnered attention and she began to go viral all over the Internet with people reacting in confusion, laughter, anger, pity, concern, and all the other emotions available to humans. Rejecting any hierarchies that didn't feature her at the very pinnacle, she naturally was attracted to social media where she could form a universe centered on her performance art. She began a “Crackhead Barney and Friends” account on Instagram and TikTok where she’s developed a cult of personality supportive of her creative practice.

Tickets: $25
Purchase Tickets


Friday, May 2 at 7:30 PM
Saturday, May 3 at 7:30 PM


A split-bill evening of dance that fuses two distinct yet interwoven choreographic works that explore the self through temporal and social dimensions. At their core, both pieces reflect on the fluidity of identity, the passage of time, and the complexity of human connection.

The first work, moment(o)moment by Eury German, draws from Nietzsche’s concept of the eternal return, exploring the cyclical nature of existence, where time loops endlessly, and every action reverberates with the weight of infinite return. Through the language of movement, this concept becomes a canvas for examining both personal and collective transformations. The choreography reflects how the body moves through time—not merely as a passive vessel, but as an active force that affirms and reaffirms itself with each cycle. As the dancer navigates these repeating moments, their movements question the metaphysical experience of time—how does the body return to itself, and how does it transform with every repetition? This work challenges the boundaries between personal identity and universal experience, making the cycle of time not only a philosophical reflection but also a visceral, embodied journey.

The second work, intero by Spenser Stroud, examines how choreographic structures influence emotional perception and social processing through somatosensory activation. In collaboration with Dr. Meletaki at the Penn Center for Neuroaesthetics, the work explores how anger and happiness manifest kinesthetically. Utilizing a sequential emotional discriminatory task, emotionally valent musical score initiated movement scores, which were mirrored and transmitted between dancers, serving as a metric for socio-emotional synergy. Additionally, the cardio-synchrony alignment task measured the dancers’ BPM through rhythmic intention cross referenced with radial pulse check-ins. Grounded in neurochoreographic principles, the piece merges improvisation with structured composition to balance raw authenticity and precision. intero ultimately challenges rigid emotional categorization, expanding the expressive depth of movement.


CREDITS

Eury German: moment(o)moment

Created & Performed by Eury German

Spenser Stroud: intero 

Created by Spenser Stroud in collaboration with artists
Performed by Kiara Benn, Demetris Charalambous, and Eury German
Set Design: Ro Miller
Music Score: Zach Salem


ABOUT THE ARTISTS

Eury German (he/him) is a dancer, choreographer, and dance professor based in NYC. A brown, queer, and immigrant artist born in the Dominican Republic, Eury's creative projects focus on the immigrant community, identity, being, and existence. Eury has a BA in Dance and Biology from Wesleyan University and a Master of Fine Arts in Dance Performance and Pedagogy from New York University's Tisch School of the Arts. He has danced with various NYC companies and choreographers including, but not limited to, Abdul Latif - D2D/T, Jennifer Muller The Works, Nimbus Dance Works, Ballet Hispanico, inDance | Toronto, James Swell Ballet, and more. His choreographic projects have been featured at Wesleyan University, the Alicia Alonso Institute of Dance at Rey Juan Carlos University in Madrid, and in various small NYC community dance festivals. Eury has taught at multiple universities and training programs in the United States and in Spain, where he completed a Fulbright research arts project from 2022-2023. v/sopao, Eury’s first international, evening length, self-produced work, premiered in Madrid, Spain in June of 2023. @eurygerm

Throughout Spenser Stroud’s (he/him) career as a young creative, his studies and work have centered on the intersection of applied neuroscience and performance art. Spenser began his studies by completing a certificate in contemporary dance at The Ailey School in NYC. He then obtained a B.A. degree in both Dance and Neuroscience from Wesleyan University, followed by an M.A. degree in Performance Studies from New York University. Spenser’s ongoing focus has been concurrent research in human cognition and contemporary choreography while seeking and exploring intersections of these realms. This dual focus has led him to a diverse array of professional appointments, ranging from researcher at The Center for Developmental Medicine at Boston Children’s Hospital to lead choreographer for Katie Pearl’s Slabber and artistic consultant at the Center for International Dance UNESCO. His novel creative approach, through the curation of choreographic aesthetics gleaned from empirical research techniques, has allotted him a range of abilities to tailor performance aimed at arousing the human psyche and to pair his art with complementary scientific analysis.

Tickets: $0-$25, pay what you can
Purchase Tickets
In the event that advance tickets are sold out, an in-person wait list will open at 6:30PM.


Doors will open at 6:30 P.M. for the beginning of the performance installation.


closed mouths dont get fed is an immersive performance installation by 2024 Artist-in-Residence Dorchel Haqq that explores the genesis of human consciousness. In a two-part experiential journey, the work examines the formative moments when we first recognize our desires and develop the autonomy to express them. In a world constructed through sculpture, movement, and sound, Dorchel navigates a home environment where objects become metaphors for the emerging weight of consciousness of a NYC upbringing where one is influenced by their environment, and illuminates the profound developmental milestone of finding one's voice and agency through play and participation.

Dorchel is in collaboration with Hakeem Olayinka for installation art and Kneaku Ashe for the soundscape.

Featuring performance artist: Nailah Murray
Artist talk facilitated by: Christian Allen

Ask and you shall receive.

View the Program

ABOUT THE ARTIST

Dorchel Haqq, raised in Harlem, began to embody history at the Dance Theater of Harlem. With an education from Fiorello H. LaGuardia High School of Performing Arts then later at the Conservatory of Dance at SUNY Purchase College, Haqq initiated her discovery of the body as a political statement. While studying at Purchase College, Haqq’s education expanded at Korea National School of the Arts. The development of Haqq’s movement practices induces an imaginative world focusing on the care of the nervous system. Haqq explores fantasy and abstracts the echo of transgenerational trauma in her body of culture through film, sound exploration, and object investigation. These explorations were made possible through the Springboard-curated Jonah Bokaer Arts Foundation Founder’s Residency, Gallim’s Moving Women AIR, Leimay’s Incubation AIR, a City Artist Corps grant, and Foundation for Contemporary Arts emergency grant. Haqq is an adjunct lecturer at Purchase College. Haqq performed with AIM by Kyle Abraham for two years before immersing in Punchdrunk’s Sleep No More in Shanghai. Haqq expanded her sensory research in 2024 as an AiR at CPR – Center for Performance Research and Baryshnikov Arts Center. Haqq is currently a guest artist in Emursive Theater’s Life And Trust and a 2025 Movement Research Van Lier Artist of Color Fellow. 

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


Artist, designer, creative technologist, and beloved former Production and Facilities Manager at CPR Nico Cabalquinto guest curates OPEN STUDIOS, inviting multimedia artists Fernando Gregório, Kevin Peter He, and MIZU to share works in development.

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.

View the Program

PROGRAM

Fernando Gregório: bichinha

In Brazilian Portuguese, bichinha is a slang term that can mean “little fag” or the feminine form of “little critter”. In this work-in-progress performance, Fernando plays an augmented DJ set in a territory where forbidden words need noisy spaces to survive.

Kevin Peter He: Vestige (WIP)

Kevin Peter He’s work sits at the intersection of performance, cinema, and interactive technology. Rooted in freestyle hip-hop dance, he approaches movement not just as physical expression but as a way of shaping images in real time. He's audiovisual performances unfold like live cinema—he constructs and manipulates virtual worlds inside a game engine with a series of custom controllers, directing the camera and environment improvisationally to the music. The result is a constantly shifting, immersive world where bodies and landscapes emerge and dissolve. This work-in-progress expands He’s virtual performance practice by introducing a live dancer on stage. Projected onto a large screen behind them, the visuals function not as a static backdrop but as an active presence—at times a second dancer, an evolving environment, or an abstract force that guides or resists movement. The performance experiments with different modes of interaction: moments of mirroring, tension, and transformation that blur the lines between physical and digital embodiment. By weaving together real-time visuals, improvisation, and choreography, this piece explores new ways of storytelling—where body and image merge, and where the boundary between human and virtual presence remains fluid and unresolved.

MIZU: Forest Scenes Live

MIZU presents a cinematic realization of her sophomore album Forest Scenes, featuring a companion film by director Dan Silver.

ABOUT THE ARTISTS

Nico Cabalquinto is a Brooklyn-based light artist, designer, creative technologist and production manager who uses audiovisual equipment, interactive technologies, and digital fabrication tools for their light sculptures and installations to transform public spaces, blur material boundaries, and enhance live performances. They completed their postdoctoral artist residency at NYU Tisch’s Interactive Telecommunications Program, where they earned their Masters of Professional Studies. They have shown their light and sound installations at Knockdown Center, Elsewhere, National Sawdust, and in various art and music festivals.

Fernando Gregório, aka DJ FeG, is a Brazilian mixed media artist and experimental performer based in Brooklyn, NY. Meditating on the binaries between humans, nature, and technology, he works with augmented reality while playing with a navigational model in which “augmentation is neither a more nor a better, but an elsewhere.”

Kevin Peter He is an NYC-based, Shanghai-raised artist working across film, live performance, and game engines to create living stories—narratives shaped not only by human intent but by the evolving systems, infrastructures, and technologies that sustain them. Rooted in the cinematic language and shaped by procedural systems, his practice explores how agency is modulated by the structures we build, the tools we wield, and the ecologies we inhabit. Kevin’s work constructs environments where narrative is not imposed but emerges—an unfolding dialogue between participants, digital frameworks, and the logics that govern them. The camera, a recurring presence, functions not just as a recording device but as an embodied interface—framing, mediating, and actively shaping the world it observes. Kevin’s work has been showcased at SIGGRAPH, MUTEK Montreal, Tribeca Festival, NOWNESS, and Onassis ONX, with recent projects including Passage_SoftRains, a sensor-driven installation where a digital ecosystem reshapes itself in response to human presence, and Flux, a live audiovisual duet where improvisational movement collides with machine perception. The former creative director of ZeroSpace, he has collaborated with institutions such as Lincoln Center, Cartier, and Nike, bridging emerging technologies with experimental storytelling. Kevin holds a Master’s from NYU’s Interactive Telecommunications Program (ITP), where he also teaches, and a Bachelor’s in Film from USC.

“Frequently gorgeous, at times unsettling, and constantly in flux” (Pitchfork), MIZU explores themes of transformation and the infinite possibilities of self through her singular cello playing and daring performing. Trained as a cellist at Juilliard, her experimental practice sees her transforming self-recorded explorations on her instrument into bold and distinct soundscapes. Her works 4 | 2 | 3, Forest Scenes, and Distant Intervals received critical praise and attention from platforms such as Pitchfork, The FADER, NOWNESS Asia, Bandcamp Daily, The New York Times, New Sounds, Stereogum, and Them.

By invitation only.

For more information, please contact Gwen Welliver, Arts in NYC Interim Director, at gwelliver@fsu.edu.


Works by Holly Borrelli, Jessica Cassette, Heather Cruise, Alexandra Di Castro, Katherine Enoch, Marin Gold, Kayla Goldstein, Kathryn Green, Emmett Higgins, Gemma Leary, Elizabeth Mineau, Erin Slogar, Sarah Kate Stolz, and Amanda Tanner.

Arts in NYC proudly presents What has been - what is now, a showcase of works created by the Spring 2025 cohort of Florida State University and University of Florida BFA and BA dance students. As a celebration of growth and individual expression, this collection of works immerses the audience in a world of storytelling and collaboration.

Influenced by the multi-faceted arts scene in NYC, the dancers explore a range of artistic mediums in their works, including dynamic movement, multi-genre music, photography, captivating film work, and costuming to address themes of human connection, nature, family legacy, self-identity, spirituality, and home.

With the recent passing of Nancy Smith Fichter, the former Chair of FSU’s School of Dance (1964-1997), we honor her legacy and passion for dance through this performance and carry her determination, tenacity, and commitment as we emerge into the professional field. We will forever live by her motto, “do it with love.”

Mentored by Arts in NYC teaching faculty Marilyn Maywald Yahel.

Special thanks to Gwen Welliver and Ashley Pierre-Louis.

Free, RSVP required (limited audience)
RSVP


Tues, April 8 from 7-8PM
Tues, April 15 from 7-8PM
Tues, April 22 from 7-8PM
Tues, May 6 from 7-8PM


In this weekly performance series, 2025 Artist-in-Residence Kat Sotelo invites the audience into her research surrounding seductive, ephemeral worlds – fantasies staged as a peep show for intimate consumption. Indulge in humiliation or glory as she enacts tropes of Filipino subservience. Let boundaries blur between spectator and spectacle, sensation and transaction. What is being revealed, exchanged, exploited? Who is in control? Become the voyeur, the voyeur of the voyeur, the object of desire, the furniture, the wall.


ABOUT THE ARTIST

Kat Sotelo is a first-generation Filipino American performance artist, choreographer, and set designer whose practice blends movement, satire, and constructed environments. She explores the body as a site of commerce, often using her experience in "exotic" dance to examine fantasy and cultural hybridity. As a film industry professional, Sotelo’s compositions also integrate elements of cinema to create layered realities. Her current body of work focuses on eroticism and servitude through a Filipino American lens – at the intersection of nostalgia, rage, and melancholy. By weaving video, personal archives, and Philippine folk traditions, she critiques the commodification of art and identity with humor and pop visions. Sotelo is currently an Artist-in-Residence at Movement Research (2024-2026) and CPR – Center for Performance Research (2025). 

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


Fri, April 18 at 7:00 PM (w/ Holland Andrews)
Sat, April 19 at 7:00 PM (w/ Darian Donovan Thomas)

*The two original performance times (6:30 and 8:30PM) have been consolidated into a single 7PM performance each evening, to make more time for River’s demons, dread, and special guests.


River L. Ramirez has come to the conclusion that the time for healing is over. No more tarot, astrology, or meditation retreats, there are bills to pay. Healing is Over is a meandering, improvisational set (with drawings and a song) about possession, demons, healing, money, god, and the existential dread of life as a freak in the USA.

Featuring special guests Holland Andrews (Apr 18) and Darian Donovan Thomas (Apr 19).

View the Program

ABOUT THE ARTISTS

River L. Ramirez is a NYC-based artist originally from Miami, FL. Working in the mediums of comedy, film, TV, writing, visual art, and music it's easy to forget they are just a little furby with a knife. River’s work explores magick, class consciousness, and liberation through play. Their work has been written about in the New York Times, Forbes, Art in America, SSENSE, and GQ. They teach a class called "How To Be In Front Of People '' at The Brick Aux and just released a single called i remember off their new EP: GIVING. You can also find them in Julio Torres's film PROBLEMISTA.

Holland Andrews is a composer, vocalist, clarinetist, and improviser whose work focuses on generating expansive tapestries of cathartic and dissonant soundscapes. Frequently highlighting themes surrounding vulnerability, healing, and transformation, Andrews composes music with their voice, clarinet, and electronics to serve as a vessel for these themes. As a musician, their influences stem from a dynamic range of styles, including contemporary opera, free jazz, american experimentalism, as well as ambient, drone, and noise music. A self-taught vocalist and improviser, they have also been cultivating a unique vocal style, which integrates these influences with language disintegration, environmental foley, and vocal distortion. Andrews previously performed solo music under the stage name Like a Villain. Some notable musical collaborations include Son Lux, Christina Vantzou, William Brittelle, Jjjjerome Ellis, yuniya edi kwon, Shahzad Ismaily, West Thordson, Peter Broderick, Darian Donovan Thomas, and Nils Frahm.

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


Fri, April 18 at 7:00 PM (w/ Holland Andrews)
Sat, April 19 at 7:00 PM (w/ Darian Donovan Thomas)

*The two original performance times (6:30 and 8:30PM) have been consolidated into a single 7PM performance each evening, to make more time for River’s demons, dread, and special guests.


River L. Ramirez has come to the conclusion that the time for healing is over. No more tarot, astrology, or meditation retreats, there are bills to pay. Healing is Over is a meandering, improvisational set (with drawings and a song) about possession, demons, healing, money, god, and the existential dread of life as a freak in the USA.

Featuring special guests Holland Andrews (Apr 18) and Darian Donovan Thomas (Apr 19).

View the Program

ABOUT THE ARTISTS

River L. Ramirez is a NYC-based artist originally from Miami, FL. Working in the mediums of comedy, film, TV, writing, visual art, and music it's easy to forget they are just a little furby with a knife. River’s work explores magick, class consciousness, and liberation through play. Their work has been written about in the New York Times, Forbes, Art in America, SSENSE, and GQ. They teach a class called "How To Be In Front Of People '' at The Brick Aux and just released a single called i remember off their new EP: GIVING. You can also find them in Julio Torres's film PROBLEMISTA.

Holland Andrews is a composer, vocalist, clarinetist, and improviser whose work focuses on generating expansive tapestries of cathartic and dissonant soundscapes. Frequently highlighting themes surrounding vulnerability, healing, and transformation, Andrews composes music with their voice, clarinet, and electronics to serve as a vessel for these themes. As a musician, their influences stem from a dynamic range of styles, including contemporary opera, free jazz, american experimentalism, as well as ambient, drone, and noise music. A self-taught vocalist and improviser, they have also been cultivating a unique vocal style, which integrates these influences with language disintegration, environmental foley, and vocal distortion. Andrews previously performed solo music under the stage name Like a Villain. Some notable musical collaborations include Son Lux, Christina Vantzou, William Brittelle, Jjjjerome Ellis, yuniya edi kwon, Shahzad Ismaily, West Thordson, Peter Broderick, Darian Donovan Thomas, and Nils Frahm.

Free, RSVP required (limited audience)
RSVP


Tues, April 8 from 7-8PM
Tues, April 15 from 7-8PM
Tues, April 22 from 7-8PM
Tues, May 6 from 7-8PM


In this weekly performance series, 2025 Artist-in-Residence Kat Sotelo invites the audience into her research surrounding seductive, ephemeral worlds – fantasies staged as a peep show for intimate consumption. Indulge in humiliation or glory as she enacts tropes of Filipino subservience. Let boundaries blur between spectator and spectacle, sensation and transaction. What is being revealed, exchanged, exploited? Who is in control? Become the voyeur, the voyeur of the voyeur, the object of desire, the furniture, the wall.


ABOUT THE ARTIST

Kat Sotelo is a first-generation Filipino American performance artist, choreographer, and set designer whose practice blends movement, satire, and constructed environments. She explores the body as a site of commerce, often using her experience in "exotic" dance to examine fantasy and cultural hybridity. As a film industry professional, Sotelo’s compositions also integrate elements of cinema to create layered realities. Her current body of work focuses on eroticism and servitude through a Filipino American lens – at the intersection of nostalgia, rage, and melancholy. By weaving video, personal archives, and Philippine folk traditions, she critiques the commodification of art and identity with humor and pop visions. Sotelo is currently an Artist-in-Residence at Movement Research (2024-2026) and CPR – Center for Performance Research (2025). 

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Tickets: Free
RSVP


Works by NYU graduate composers Yve Délice, Rosie Kaplan, Cecilia Lopez, Will Martin, Victoria Smith, and Trevor Van de Velde.

Cecilia Lopez will present a duo with Zeena Parkins followed by Yve Délice’s duo with Jazzie Lock. TAK ensemble will then perform works by Kaplan, Martin, Smith and Van de Velde.

View the program here.

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


Sunday, April 6 at 6:00 PM
Wednesday, April 9 at 7:30 PM


(my battery is low) and it is getting dark is a contemporary dance work by rogue wave director Catherine Messina. When a star dies, it explodes into a supernova right before, illuminating colors and light. It is this idea, the idea of getting big to get quiet that was the first impetus for this work. From there, it led into so much more. 


CREDITS

Company: Aryanna Allen, Caroline Alter, Emily Hoff, JG Luitje, Catherine Messina, and Mayu Nakaya

Free, RSVP required (limited audience)
RSVP


Tues, April 8 from 7-8PM
Tues, April 15 from 7-8PM
Tues, April 22 from 7-8PM
Tues, May 6 from 7-8PM


In this weekly performance series, 2025 Artist-in-Residence Kat Sotelo invites the audience into her research surrounding seductive, ephemeral worlds – fantasies staged as a peep show for intimate consumption. Indulge in humiliation or glory as she enacts tropes of Filipino subservience. Let boundaries blur between spectator and spectacle, sensation and transaction. What is being revealed, exchanged, exploited? Who is in control? Become the voyeur, the voyeur of the voyeur, the object of desire, the furniture, the wall.


ABOUT THE ARTIST

Kat Sotelo is a first-generation Filipino American performance artist, choreographer, and set designer whose practice blends movement, satire, and constructed environments. She explores the body as a site of commerce, often using her experience in "exotic" dance to examine fantasy and cultural hybridity. As a film industry professional, Sotelo’s compositions also integrate elements of cinema to create layered realities. Her current body of work focuses on eroticism and servitude through a Filipino American lens – at the intersection of nostalgia, rage, and melancholy. By weaving video, personal archives, and Philippine folk traditions, she critiques the commodification of art and identity with humor and pop visions. Sotelo is currently an Artist-in-Residence at Movement Research (2024-2026) and CPR – Center for Performance Research (2025). 

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


Sunday, April 6 at 6:00 PM
Wednesday, April 9 at 7:30 PM


(my battery is low) and it is getting dark is a contemporary dance work by rogue wave director Catherine Messina. When a star dies, it explodes into a supernova right before, illuminating colors and light. It is this idea, the idea of getting big to get quiet that was the first impetus for this work. From there, it led into so much more. 


CREDITS

Company: Aryanna Allen, Caroline Alter, Emily Hoff, JG Luitje, Catherine Messina, and Mayu Nakaya

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

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

*In the event that advance tickets for this program are sold out, an in-person wait list will open at 7PM. We always do our best to get everyone inside comfortably!


For These are precarious times…, dancer, choreographer, and educator Joanna Kotze assembles Martita Abril, Natalie Green, Catherine Kirk, and Molly Poerstel – four artists who embody power, vulnerability, rigor, beauty, and risk in both their work and their performances – to share new work in development.

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.

View the Program

PROGRAM

Martita Abril: Cart lady 
Heavy on the hands 
Light on the feet 
Razor sharp 
Smooth as slow mo 
Melting underground 
Floating above 
Cleaving too cleavers 
Smog as creatures 
Deepen too deep 
Peed too nepeed 
What is 
Who is 
Where is 
Blow this 
Clack clack
This is the rhythm of my life 
In out 
Adentro por dentro 

Natalie Green: Sharp Wave Ripple
This dance is a distress signal.

Catherine Kirk: No Fire Too Quick
No Fire Too Quick brings the fickle and fleeting virality of pop culture into form. Brain rot is heightened, an ever diminishing attention span is normalized, and unfinished ideas are present in the in-progress and early stages of No Fire Too Quick. 

Molly Poerstel: Flesh House (solo excerpt)
Flesh House (solo excerpt) premiered at Kestrels in 2024 as a trio exposing the personal path, old truths, and inter-lapping connected experiences of dance performers. Within this scaffold, the work also interrogates the immediacy of embedded memory through improvisational scores, text, and visual imagery, and reveals how the mythologies, stories, and experiences of our past come with us into choreography. These interconnected solos give value and voice to a dancer’s story. Revealing the silent labor of our work within the choreographic process, as a live tenable force that breeds and populates the work of the maker.


ABOUT THE ARTISTS

Martita Abril (Pichu) is an artist from the border city of Tijuana, México. She has collaborated with Lux Boreal, Kim Brandt, Yanira Castro, Yoshiko Chuma, Milka Djordevich, Tess Dworman, Devynn Emory, Daria Fain and Robert Kocik, Lily Gold, Allyson Green, Abigail Levine, Mina Nishimura, Cori Olinghouse, Okwui Okpokwasili and Peter Born, Will Rawls, David Thomson, Larissa Velez-Jackson, and Cathy Weis. Martita was a performer in Simone Forti’s Dance Constructions and most recently the Mirrors I & II piece by Joan Jonas at the Museum of Modern Art. She was part of the Fresh Tracks Residency at New York Live Arts, the Dance and Process artist in residency at The Kitchen, and she is currently in the Movement Research AIR Program, funded, in part, by Mertz Gilmore Foundation. She also continues to guide workshops in Bushwick gardens to immigrant familias, through the iLAND program by Jennifer Monson. Martita co-curates In/Between, the annual immigrant artist group exhibition at New York Live Arts in partnership with NYFA’s Immigrant Artist Mentoring Program originally created by Yanira Castro, Martita, and Poppy DeltaDawn. She is currently the Director of Movement Research at the Judson Church, is the Trisha Brown Dance Company Tour Manager, and a mentor to Immigrant artists as part of the NYFA Coaching program.

Natalie Green has danced for Donna Uchizono, RoseAnne Spradlin, Anna Sperber, Tere O'Connor, Juliette Mapp, Heather Kravas, Levi Gonzalez, Annie-B Parson, and Big Dance Theater. She was a 2023 Movement Research Parent Artist in Residence and has presented work at Dance Theater Workshop, The Chocolate Factory Theater, and BAX, among other NYC venues. She grew up in Austin, TX and is a graduate of SUNY Purchase.

Catherine Kirk is a performing artist, dancer/choreographer, and teaching artist from the unceded land of the Kiickaapoi and Wichita peoples, now known as Dallas, TX. She has a BFA in dance from New York University, gained her Yoga certification through The Perri Institute for Mind and Body, and is Reiki certified. Despite making New York her home base, Catherine's Southern upbringing lingers on in her artistic expression. Inspired by dreams of Black liberation through leisure and rest as an entry and end point to action, Catherine leans towards creating leisurely and socially complex environments that tell stories grounded in soul, communal care, and social equity with strong reference to the fleeting virality within pop culture. Her movement is anchored in release, improvisation, and her ancestral groove. Catherine has created work for installation spaces, commercials, and short films, has presented two solo works supported as an Artist-in-Residence at Art Cake Brooklyn (2020) and Jonah Bokaer Arts Foundation (2021), and curated an evening for Chez Bushwick’s RECESS (2023). Catherine has collaborated and performed with Jasmine Hearn, Sidra Bell Dance New York, Kyle Marshall, Burr Johnson, and Helen Simoneau, and is featured in the award-winning Netflix series, Halston and in the Showtime series Ziwe. Catherine has performed works by an array of choreographers including Bebe Miller, Sharon Eyal, Doug Varone, Keerati Jinakunwiphat, and Andrea Miller. Catherine danced with A.I.M by Kyle Abraham for 11 years, and is currently in her second season with Trisha Brown Dance Company.

Joanna Kotze is a Brooklyn-based dancer, choreographer, and educator. She creates highly physical dance performances through a collaborative, multi-disciplinary process, presenting ways to look at effort, labor, humor, violence, unpredictability, and beauty through movement as well as the body’s relationship to sound, light, physical materials and space. Joanna recently received a 2024 Grant to Artists from the Foundation for Contemporary Arts. Her piece What will we be like when we get there, was nominated for a Bessie in 2018 for Outstanding Music Composition and Sound Design by collaborator Ryan Seaton and she received the Bessie for Outstanding Emerging Choreographer in 2013. Her choreography has been presented by UtahPresents, American Dance Festival, Wanås Konst, Irondale, The Yard, Bates Dance Festival, Stonington Opera House, New York Live Arts, Wexner Center, Velocity, the NAC in Ottawa, Baryshnikov Arts Center, Danspace Project, ADI, Bard, Jacob’s Pillow, DNA, Roulette, Dixon Place, 92nd Street Y, Movement Research at Judson, and others. She has been supported through residencies throughout the US and Europe and has taught classes and workshops around the world. Joanna currently dances for Kimberly Bartosik (2009-present) and Stacy Spence, and has worked with Wally Cardona (2000-2010,2018), Annie-B Parson, Donna Uchizono, Tendayi Kuumba, Kota Yamazaki, Netta Yerushalmy, Sam Kim, Sarah Skaggs, Christopher Williams, the Metropolitan Opera ballet, Daniel Charon, and others. She is originally from South Africa and has a BA in Architecture from Miami University. joannakotze.com

Molly Poerstel is a dance artist whose career spans twenty-five years. A powerful performer, she has gained recognition over the years for her work with Mark Jarecke, David Dorfman Dance Company, Alex Escalante, Susan Rethorst, Larissa Velez-Jackson, Hilary Clark, Ivy Baldwin, Juliana F. May, Roseanne Spradlin, and Jeanine Durning. Poerstel was nominated for a New York Dance and Performance “Bessie” Award for Sustained Achievement in Dance Performance in 2019. Her current choreographic body of works are a trilogy of explorations into embodied memory. I am Also – Monte (2021) was commissioned by Abrons Art Center, featuring acclaimed house dancer Monte Jones, Flesh House (2023), an interconnected trio of solos for herself, Monte Jones, and Eleanor Smith, premiered at Kestrels in Brooklyn, and her next work, Galactic Ash (working title) considers the in-between spaces of our past and future identities through the complicated binds of grief, ancestry, and lineage. Poerstel was a 2015 Movement Research Artist-in-Residence and a 2018 BAX Parent Space Grant Recipient. She has taught at The Eugene Lang College of Liberal Arts, The New School, SUNY Purchase Dance Conservatory, Mason Gross School of the Arts, Rutgers University, Dalton School, and the Nanyang School of the Fine Arts in Singapore.

Free; advance registration required at least 24 hours in advance.
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Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Free; advance registration required at least 24 hours in advance.
RSVP


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Tickets: $20, $25, $30, sliding scale
Purchase Tickets


Friday, March 21 at 7:30 PM
Saturday, March 22 at 7:30 PM

*In the event advance tickets are sold out, an in-person wait list will open at 7PM, and we do our very best to get everyone comfortably inside.


Display Case is an interdisciplinary performance by Ben Green and Ohad Mazor, dancers, choreographers, former members of the acclaimed Batsheva Dance Company, and life partners. Drawing on their personal and professional partnership, Display Case delves into themes of queerness, marriage, grief, language and migration, using the performing body as a “case study”.

A rose bush rises from a mound of dirt. It stands at the center of the room insulated inside a glass terrarium, wheeled around, watered, nurtured and mourned. This emblem of death is comprised of living artifacts, ripped away from their natural habitat, in an effort of preservation. Un-contextualized life fragments haunt the performance, echoing from outside a glass case the performance itself exists in. Inevitably, what begins in morgue-like confines spills out and onto the performers, altering them unrecognizably. The piece unfolds as a living artifact, questioning and experimenting with the ways in which the transient – be it human experience or natural beauty – is preserved and presented, mourned and iconized.


CREDITS

Created & Performed by: Ben Green and Ohad Mazor
Sculpture / Set Design: Meredith Wheeler of Secret Flowers

Music: 
"Piano on Tape" by Christina Vantanzou, Michael Harrison, John Also Bennet
"Blue Moon" by Elvis Presley
"Groovy" by JMSN
"Entrance March" by Mushio Funazawa 
"Abendlied Op. 85, No. 12" by Robert Shuman, Lucerne Festival Strings, Daniel Dodds
"Introduccion" by Nicolas Jaar
"Waving 2" by DM Stith
"ויהי בוקר" by Efrat Ben Zur

Original Text: Ben Green and Ohad Mazor

Special Thanks: Scott Putman, VCU Department of Dance & Choreography, The Branch Museum, Katie Foster, Kaatsbaan Cultural Park, Morgan Whitehead, Sharona Cantor, Jack Fox and Hannah Mayfield. 


ABOUT THE ARTISTS

Ben Green (they/he) is a choreographer and performance maker originally from Nevada. After performing with Batsheva Dance Company (Tel Aviv) for 7 years they began developing their own independent performance projects. They perform with P.OR.K under the direction of Marlene Monteiro Freitas. They have participated in residencies at Kaatsbaan Cultural Park, New York and TanzFarm Art Residency, Michigan. In 2023, they were selected to participate in a workshop for theatre makers as part of the 2023 Venice Biennale Teatro College. They founded the performance collective HIND LEGS in 2023. Additionally, they are a certified Gaga teacher.

Ohad Mazor is a non-binary independent choreographer, performer, writer, Gaga teacher, and former member of Batsheva Dance Company (2016-2023). In their time in the company, Ohad took part in the original creations of 2019 and MOMO by Ohad Naharin and The Look by Sharon Eyal. Ohad's research lies at an intersection between dance, drag, and confession while dealing with themes of identity, grief, gender, and their politics through a hyper personal lens, be it through autobiography or cosplay. Their work has been presented by CCA: Tel Aviv-Yafo, Habait Theatre and Intimadance Festival 2023. Ohad serves as a guest teacher for Gibney Dance Company, SUNY Purchase College, and Mark Morris Dance Center. They write a personal Substack on gender and immigration, "The Emancipation of MeMe."

Secret Flowers is a floral design studio based out of Richmond, VA and run by Meredith Wheeler. With an aim to create a place “Where Springtime Lingers”, Secret Flowers exhibits a surreal and imaginative artistry to floral design. The set design for Display Case exudes that same concept, attempting to combat, stall, or preserve the ephemera of the natural world.


ARTIST NOTE

As an Israeli artist it is important for me to acknowledge the atrocious ethnic cleansing of the Palestinian people being carried out in my name, especially as Israel violates a ceasefire agreement in the days before this performance. I ache at this overwhelming bloodshed, and call for an immediate ceasefire, the immediate release of all hostages, and a solution of safety, equality, and dignity for Palestinians and Israelis in the region. Created collaboratively with my partner Ben Green, this piece is, in part, a grappling with personal grief. We hope that in the face of grief being highly politicized, radical empathy prevails.

– Ohad Mazor

Free with RSVP
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This program is co-presented off-site with The Invisible Dog Art Center


As part of the research for their performance work The Dumps, and as an extension of their Technical Residency at CPR and co-presented with The Invisible Dog Art Center, Simone Aughterlony and Jen Rosenblit organize In Our Decline, a symposium aroused by an urgent and necessary un-doing of things – aging, un-worlding, decay, ruination, and collapse.

The day-long symposium features performative activations, visual art offerings, and public conversation and engagement with a range of artists, curators, and scholars including A.K. Burns, Caroline Dionne, Jack Halberstam, Ryan McNamara, Felipe Ribeiro, and Avgi Saketopoulou, along with performances by lab participants who will join Rosenblit and Aughterlony in their research, including Effie Bowen, devynn emory, Raja Feather Kelly, Stephen Morrison, Connor Voss, Joseph Wegmann, and Colin Self.

View the Program

This program is an extension of a Spring 2025 Technical Residency with Jen Rosenblit and Simone Aughterlony in March 2025.

Accessibility note: The Invisible Dog Art Center can be accessed via a ramp upon request. Please note the restroom is not ADA accessible.


SYMPOSIUM SCHEDULE

12–12:45 PM | Caroline Dionne and Felipe Ribeiro

Caroline Dionne and Felipe Ribeiro share research and conversation.

Caroline Dionne: In Plain View
Caroline Dionne offers insights from In Plain View, a reflection on the transformation of Freshkills from landfill to landscape, where she explores the convergence of contemporary art and environmental awareness, emphasizing the fragile balance between nature and human impact. Through a series of immersive works, Dionne encourages the audience to contemplate on community, aging, decay, and ruin through the environmental repercussions of modern society.

Felipe Ribeiro: Revolving Actions
Undoing becomes the operative concept for Revolving Actions, a series of site-specific performances developed since 2018. The actions happen in three historical sites, equidistant 1000 kilometers from one another, which mark a triangle in the map of Brazil. At first, studies of movements and compositions of soils subjects the performer’s body to enduring situations of physical instability, which then expands into a non-leading power of agency.

1–2 PM | Jack Halberstam: Unworlding: Anarchitecture After Everything

Empires have often been described in terms of a rise and a fall, a glorious era and an ignominious defeat. This way of describing power, inevitably, allows for mythologies of a once great era that was here but has now gone…but could rise again. In this talk, Unworlding: Anarchitecture After Everything, Jack Halberstam will push back on the model of rising and falling and stay with decline, collapse, ruination. The answer to ruination, moreover, lies less in repair and more in destitution. He will offer a destituting logic for trans bodies, for city spaces and for political futures. We will not look back longingly for a time past but nor will we scan ahead for a better future. Instead, through art works focused on unbuilding, unmaking and precarity, we can think together about our decline and how to embrace it.

2–2:15 PM | 1st Laboratory Performative Activation

Effie Bowen, Stephen Morrison, Joseph Wegmann, Raja Feather Kelly, Connor Voss, devynn emory, simone aughterlony, Jen Rosenblit, and Colin Self.

2:45–3:30 PM | A.K. Burns: What is Perverse is Liquid

What is Perverse is Liquid explores metaphors, qualities, and properties of water such as transmission, transformation, liquid assets, leaks, and water’s essential role in the cycle of life and death. The work is structured as a series of interfaces including peepholes, portholes, computer screens, and other visual “leaks.”

3:30–4 PM | Ryan McNamara: live ruination choreo

A live time lapse. The artist uses everything available; a history of past works, the laboratory artists, the panelists, the theories, the space, microphones, chairs and the public to speculate on aughterlony and Rosenblit`s yet-to-be-made performance, The Dumps. Considering ruins and wreckage this entertaining offering rearranges the room, disorients our focus and leaves us to reflect on what we are left with, our inheritance and our accumulation.

4–5 PM | Avgi Saketopoulou: On the militancy of resisting the reparative: wound and confusional aesthetics

What does it take to make a determined and clear turn towards the anti-reparative? What resources are available to us for such a move, and what are the stakes of adopting a traumatophilic approach to what has already been broken in us and in the world? Drawing on Carolina Mendonça’s performance Zones of Resplendence, Saketopoulou discusses dispossession not as liability but as opening up to the birthing of collectives that do not labor towards the healing of wounds but towards a certain kind of militancy. Key to this militancy is an aesthetic of confusion, which works by frustrating the impulse to grasp what's enigmatic about our wounds and our response to them. Confusional aesthetics are central to art we may think of as ethically sadistic, art that engages us by drawing us into the wound.

5–5:15 PM | 2nd Laboratory Performative Activation

Effie Bowen, Stephen Morrison, Joseph Wegmann, Raja Feather Kelly, Connor Voss, devynn emory, simone aughterlony, Jen Rosenblit, and Colin Self.

5:15–6 PM | Roundtable and open mics with symposium participants and the public


ABOUT THE DUMPS

The Dumps is an extensive research and performance project by Simone Aughterlony and Jen Rosenblit that confronts architectural ruination against a backdrop of the capitalist drive for renewal. Departing from Jack Halberstam’s theory around Un-Worlding and The Aesthetics of Collapse, the project considers an erotics associated with abandoned architecture, often flagging or gesturing toward decline. What is it that gets lost and who do we lose amidst a constant drive to rebuild and refurbish? Is it love for or fear of ruins that determine the drive for futurity based on ownership, heated floors, privatized and insulated views, and the eventual promise of accumulated abundance?

By way of weathered, eroded, collapsing and abandoned architectures, the work refocuses erotics, sex, and sexuality as a public affair. The Dumps is not a site to disregard but an abundance of situations to be reckoned with. In the end, The Dumps might evict us, liberate us, even emancipate us from the promise of progress, not through clarity but through the aesthetics of confusion.

Through the creation of the work, Rosenblit and Aughterlony will host gatherings for local artists in each city where they are in residence, methodically articulating a further unwinding, undoing, aging, and decay associated with the research proposition itself and in resistance to further world-making. Acknowledging that the proposition of collapse is riddled with contradiction amidst the effort to speculate on futurity, in this context, to undo, we must first do, build, arrange, and organize as a way to initiate a focus towards the un-worlding and take stock of all that we have inherited.


IN OUR DECLINE

In Our Decline is a symposium taking place in NYC, nestled between residencies in Brooklyn at The Invisible Dog Art Center and CPR – Center for Performance Research, and positioned site-specifically in the well visited, dwelled, lingered, preserved, and beloved Invisible Dog Art Center, its industrial space, and the vertical stacking of a constantly eroding New York City. With the imminent closing of this community space at 51 Bergen Street, the work also takes on a necessary speculation of demolition in relation to this community space, excavating a promise of collision as being and getting in the way of progress.

Inviting a local network of artists and thinkers, this gathering contemplates and complicates the process of performance making. The symposium seeks to focus without centralizing or, more importantly, without further marginalizing, bodies and communities historically associated with abandoned or deemed-unlivable spaces. In actively inviting the public to tend to the impulse of traumatophilia, the gathering arouses potential and incites a curiosity for the role of rot when acknowledging these ruins that continue to hold us, our fairy tales and our myths, managing to make us distinct from the rubble itself, and considering the wreckage, the weathered, and the decayed as available remnants for a collision with the future, a biased archive of the past, and a sobering recognition for where we are now. 


CREDITS 

In Our Decline is co-presented by The Invisible Dog Art Center and CPR – Center for Performance Research, both in Brooklyn, NY. Presented in collaboration with Swissnex in Boston and New York with the support of Presence Switzerland, Pro Helvetia Global Travel Grant, Consulate General of Switzerland in New York, and Imbricated Real.


ABOUT THE ARTISTS

Jen Rosenblit makes performances based in Berlin after over a decade of working in NYC. Rosenblit invests in the problems that arise inside agendas of being together, often chipping away inside seemingly impossible spaces. Rosenblit hosts complex narratives of intimacy and autonomy, allowing for content to be emergent rather than determined as the body negotiates repetition, disruption, meaning and memory as we encounter others. Rosenblit’s performance work departs from preciousness and sentimentality in hopes of locating a more potent relevance for how we read and relate to constellations of things happening over time. Reaching for a heightened subtlety of experience by engaging sensation with visual information, the multiplicity of the body as an experiential culture unfolds. Rosenblit builds space for the viewer to experience indentation, for eyes that find molding and packaging, or the revealing and concealing of information to suggest utility as the poetic. The work exists out of bounds, off center, aligning itself to phenomenology rather than images. This research takes time, to perceive things, to relate and re-relate to all things as mattering. Rosenblit is a 2018 Guggenheim Fellow, a recipient of a 2014 New York Dance and Performance “Bessie” Award, a 2023 La Becque (Vevey, CH) artist in residence, and currently teaches at Hochschulübergreifendes Zentrum Tanz Berlin. Rosenblit has collaborated with artists including Simone Aughterlony, Miguel Gutierrez, A.K. Burns, and Philipp Gehmacher in various capacities via performer, writer, creator, and director.

Simone Aughterlony is an independent artist based in Zurich and Berlin, working predominantly in dance, performance, and visual art contexts. They have been devising queer-spirited choreographic works over the last sixteen years. Engaging with alternative forms of kinship inside their process, new constellations emerge as possibilities for reconfiguring a culture of togetherness that fosters both familiar and unknown quantities. Their works playfully compose with representation and its saturation, seeping into and embracing the phenomenology of mis-recognition and the absurd. Aughterlony approaches art making as a practice where they navigate the contradiction between the domination of desire alongside the agency of all elements. They regularly teach at academic institutions such as ZHdK - Zurich University of the Arts, Manufacture in Lausanne, and DAS Art Amsterdam, amongst others, as well as devising and facilitating laboratory formats and frames for sharing and producing knowledge. In 2020 together with Marc Streit they founded Imbricated Real, an independent structure for contemporary art practice.https://www.aughterlony.com

Avgi Saketopoulou is a Cypriot and Greek psychoanalyst practicing in NYC. She serves on the faculty of the NYU Postdoctoral Program in Psychotherapy and Psychoanalysis and her publications have received numerous prizes. Her interview on psychoanalysis is in the permanent holdings of the Freud Museum (Vienna) and her monograph, Sexuality Beyond Consent: Risk, Race, Traumatophilia (NYU Press, 2023) braids psychoanalysis with performance studies, philosophy, and queer of color critique to explore consent’s erotics, the vicissitudes of overwhelm, and the aesthetics of repetition. She is co-author, with Ann Pellegrini, of Gender Without Identity (UIT Press, 2023), and in critical conversation with Dominique Scarfone in The Reality of the Message: Psychoanalysis in the Wake of Jean Laplanche (UIT Press, 2023). She is currently working on her next book project provisionally titled The Offer of Sadism. Her love of psychoanalysis and of queers is rivaled only by her love of motorcycles. www.avgisaketopoulou.com

A.K. Burns is an interdisciplinary artist and educator, working at the nexus of language and materiality. Burns utilizes sculpture, video, installation, writing, and performance—troubling systems that assign value with criticality and humor. A solo survey exhibition in 2023 at the Wexner Center for the Arts, Columbus, Ohio is currently on view at the Henry Art Gallery, Seattle, WA. Along with exhibiting internationally, Burns was awarded the 2023 Berlin Prize Fellowship at the American Academy in Berlin; a 2021 Guggenheim Fellowship; a 2018 NYSCA/NYFA Fellow in Interdisciplinary Art; and a 2016 Radcliffe Fellowship at Harvard University. A.K. Burns is currently an Associate Professor and MFA Co-Director at Hunter College, CUNY, Department of Art and Art History. akburns.net/about-contact/

Caroline Dionne is a scholar and educator with a background in art and architecture criticism and curation. She is Associate Professor of History and Theory of Design Practice and Curatorial Studies at Parsons School of Design at The New School. Her research sits at the intersection of literature, language theory, philosophy, and architecture, and investigates the role of language and the politics of place in design. Her recent book, Design Theory, Language and Architectural Space in Lewis Carroll (Routledge, 2023), proposes design theories of the emergent based on a close reading of the complete works of the nineteenth century writer and mathematician. Other publications can be found in Designing in Dark Times: An Arendtian Lexicon (Bloomsbury, 2020), Reading Architecture: Literary Imagination and Architectural Experience (Routledge, 2018), OASE 96 Social Poetics: The Architecture of Use and Appropriation (NAI, 2016), and Architecture's Appeal (Routledge, 2015). www.newschool.edu/parsons/faculty/Caroline-Dionne/ 

Jack Halberstam is the David Feinson Professor of The Humanities at Columbia University. Halberstam is the author of seven books including: Skin Shows: Gothic Horror and the Technology of Monsters (Duke UP, 1995), Female Masculinity (Duke UP, 1998), In A Queer Time and Place (NYU Press, 2005), The Queer Art of Failure (Duke UP, 2011), Gaga Feminism: Sex, Gender, and the End of Normal (Beacon Press, 2012) and a short book titled Trans*: A Quick and Quirky Account of Gender Variance (University of California Press). Halberstam’s latest book titled Wild Things: The Disorder of Desire (Duke UP, 2020). Places Journal awarded Halberstam its Arcus/Places Prize in 2018 for innovative public scholarship on the relationship between gender, sexuality, and the built environment. Halberstam is now finishing a book titled Anarchitecture After Everything, which will be published by MIT Press in 2026. Halberstam was recently named a 2024 Guggenheim Fellow. english.columbia.edu/content/jack-halberstam

Felipe Ribeiro (born 1977, Rio de Janeiro, BR) is a visual artist and independent curator, currently based in Switzerland. He’s a visiting researcher at HKB - Bern University of Arts, he has been a visiting scholar in the Transdisciplinarity Master’s program at ZHdK - Zurich University of the Arts since 2022, where he teaches performance art, decoloniality, and global south perspectives. Ribeiro is also an Associate Professor in the Graduate Programs of Dance Studies and Performing Arts at the Federal University of Rio de Janeiro. His academic background includes a Master’s degree in Cinema Studies from NYU, and a PhD in Visual Arts from Rio de Janeiro State University, partially completed at NYU’s Performance Studies Department. His research, “Revolving Actions,” merges durational performance, image-making, and land art, stemming from his early work in experimental filmmaking. Ribeiro’s performances have been featured in major festivals across South America, as well as in Hamburg, Zurich, and Lisbon. From 2009 to 2013, he developed Trilogy of the Image, a series of staged works combining video, essayist texts, and performance. In 2018, he had his first solo exhibition in Rio de Janeiro, and in 2022, he presented [not] here, a duo exhibition at Zurich’s Cabaret Voltaire in collaboration with Swiss artist Sarah Burger. His collaborative projects include artists such as Simone Aughterlony, Eleonora Fabião, Denise Stutz, and Vinicius Arneiro. Felipe Ribeiro is also a founding member and artistic director of Atos de Fala, an international festival dedicated to speech acts and performance, which has been held annually in Rio de Janeiro since 2011. In 2019, the festival collaborated with zurich moves! festival, supported by Pro Helvetia and Swissnex Brazil and co-curated and co-produced with Marc Streit, Head of Arts and Creative industries at Swissnex in Boston and New York. In addition to his curatorial and performance work, Ribeiro is the author of Ruminations: Performance Art in Between Pleasure and Resistance, published in Brazil in 2022 and soon to be re-released in Portugal.

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 Museum (New York), Dallas Symphony Orchestra, ICA Boston, Perez Art Museum (Miami), ICA London, The Garage (Moscow), The Power Plant (Toronto), 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 Museum of Modern Art and The Whitney Museum in New York.www.ryanmcnamara.com