Free,
RSVP

Join us in celebrating the beginning of our Fall 2025 Season at our Sunday afternoon launch party, featuring a special installation of The Circus is Coming to Town (The Circus is Coming to CPR) by artist Yiseul LeMieux. Come meet our newest staff members, Executive Director Jaclyn Biskup and Production and Facilities Manager Cameron Barnett, as well as Programs Manager Kerosene Jones and MVP Rentals Manager Rebecca Gual, for an opportunity to make friends with members of the CPR community. There will be sips, nibbles, and circus games aplenty. 

PROGRAM

The Circus is Coming to Town (The Circus is Coming to CPR) is an immersive event combining interactive installations and a curated gallery exhibition. Upon entering, attendees are invited to touch and explore the artworks—flipping switches, spinning pieces, listening to stories, and more. Visitors also encounter games, hands-on activities, and refreshments that echo the festive energy of a traditional circus or carnival.

ABOUT THE ARTIST

Yiseul LeMieux is a Korean-born artist based in New York City. Her work spans multiple media, blending vivid narratives and alternative realities. She emphasizes audience engagement and community feedback, rejecting traditional boundaries between media, artist, and audience. Her creative vision explores a global network of interchangeability—where the artist, human, animal, or object holds equal value. This ethos allows her to explore limitless potential in herself and the world.

Tickets $10
Purchase Tickets


The Goethe-Institut New York is pleased to present an evening of performances featuring Li-Ming Hu (b. 1987 in New Zealand, lives in New York City) and Charmaine Poh (b. 1990 in Singapore, lives in Berlin). These performances are held in conjunction with the exhibition, Likenesses: Speaking with the Selves, at the Goethe-Institut New York on view from September 24 to December 4, 2025. 


PROGRAM

Li-Ming Hu
Can It Be I'm Not Meant To Play This Part? (2024), performance, video, 30 min.

Combining narration, reenactment, found footage, karaoke, animation and a sprinkling of augmented reality, Li-Ming Hu’s Can It Be I'm Not Meant To Play This Part? explores representation, identity and cultural production through the artist’s experiences as a professional actor and emerging artist, in conversation with key moments in the history of Asian American theater.

Works cited (in order of appearance):

• Trailer for the 2020 film Mulan, directed by Niki Caro

• “Reflection,” performed by Lea Salonga, from Disney's 1998 animated film Mulan (Wilder and Zippel).

• Interview with Lea Salonga, Jonathan Pryce and Terry Wogan, BBC, 1989.

• Photos of 1990 Miss Saigon protests by Corky Lee

• Final scene of M Butterfly by David Henry Hwang, directed by David Cronenberg, starring Jeremy Irons. Music “Everything is Destroyed” by Howard Shore and a Casiotone cover of “Un Bel Di Vedremo” by Puccini (from his opera Madame Butterfly)

Charmaine Poh
in the shadow of the cosmic (2023), performance-lecture, video, 30 min.

in the shadow of the cosmic is a performance-lecture exploring the multiplicity of the avatar. Expanding Poh's YOUNG BODY series, the character E-Ching is placed in conversation with vocal clones, anime characters, 3D influencers, and other entities in a vast digital constellation. The performance-lecture traces a technological lineage from the East Asian economic miracle of the 1980s and '90s and the emergence of techno-orientalism, positing that the digital image of the East Asian femme body was borne at a confluence of these historical flows. Pertinent to the work is the recursive logic of Daoism, in which image, self and cosmology reverberate in endless loops. Combining video, live performance and sound, in the shadow of the cosmic is a call to re-open questions of being and becoming.

• Motion graphics: Jawn Chan

• Audio generation: Jawn Chan, Ashley Hi

• 3D animation: Brandon Tay

• Movement artists: Robyn Wong Min Xuan and Kay Yoon

• Music (the track, Mutualism): Anise

Li-Ming Hu & Charmaine Poh
Somewhere In Between Asian and British (2025), performance, 15 min.

This collaborative performance takes the Singaporean accent as a point of departure. Poh, Singapore-born, and Hu, whose mother is Singaporean, explore topics ranging from typecasting and codeswitching to post-colonial politics and diasporic experiences.

Somewhere In Between Asian and British is commissioned by the Goethe-Institut New York for the exhibition Likenesses: Speaking with the Selves.

BIOS

Li-Ming Hu is a multidisciplinary artist working with installation, video, and performance. Drawing on her experience in the entertainment industry, Hu explores the relationships between cultural production and the construction of subjectivities, engaging with the imperatives of our high-performance culture. She holds an MFA from the School of the Art Institute of Chicago, has attended residencies at the Skowhegan School of Painting and Sculpture, the International Studio and Curatorial Program, Flux Factory, the Wassaic Project and Enjoy Contemporary Art Space (NZ). She has exhibited and performed widely throughout New Zealand, Chicago and NYC.

Charmaine Poh 傅秀璇 is an artist working across film, photography, media and performance to peel apart, re-examine, and hold ideas of agency, repair, and the body across worlds. She aligns herself with strategies of visibility, opacity, deviance, and futurity. Based between Berlin and Singapore, she is a co-founder of the magazine Jom and a member of the Asian Feminist Studio for Art and Research (AFSAR). She was a participating artist in the 60th Venice Biennale: Foreigners Everywhere and was awarded Deutsche Bank’s 2025 Artist of the Year and the 2026 Villa Romana Prize.

Advance General Admission: $35
Advance Artists/Students: $25 (limited availability)
At-the-Door: $40
Donor Tickets: $50

Purchase Tickets

In the event that the program is sold out, an in-person wait list will open at 5PM.



PROGRAM

5:00 PM | Doors Open + Social Hour with Refreshments

6:00 PM | Performances + Dance Party

Rovaco Dance Company presents their seventh annual Rovaco Dance Party. This evening of live music, dance, theater, and cultural exchange begins with an informal social hour inspired by Indian hospitality traditions. Guests are served complementary Indian snacks prepared by Chef Ashmita Biswas alongside alcoholic beverages and Sanzo sparkling waters, a brand that celebrates bold Asian flavors. After the social mixer, transition into the theater for live music and dance performances, curated and MC’ed by Rovaco's Artistic Director Rohan Bhargava. The evening ends with a DJ dance party for all!

CREDITS

Rovaco Dance Artists

Choreography: Rohan Bhargava in collaboration with dancers

Performers: Nico Gonzales, Devika Chandnani, Siddharth Dutta, Karma Chuki, and Isabele Rosso

Resident Dramaturg & Script Consultant: Mahima Saigal

Resident Composer: Saúl Guanipa

Guest Artists

Sitar & Live Looping Soloist: Neel Murgai

Kanklės & Sitar Duo: Simona Smirnova & Galen Passen

DJ: Cameron McKinney / DJ KAZVMA

Chef: Ashmita Biswas

ABOUT THE ARTISTS

Rovaco Dance Company was founded in New York City in 2015 by Artistic Director Rohan Bhargava. Over the years, the company has produced a unique form of narrative dance-theater, which blends floorwork, release, ballet, bollywood, street jazz, bhangra, and contemporary partnering into one fluid whole, in multimedia collaboration with designers and composers. Repertory has been presented by Provincetown Dance Festival, Dance NYC, Battery Dance Festival, Rhythmically Speaking, Little Island NYC, and Create:Art. The company has been a Resident Artist at Dancewave, the James Jay Dudley Luce Foundation, and the CUNY Dance Initiative at LaGuardia Performing Arts Center. Commissions have come from Mannes School of Music, Mare Nostrum Elements, Making Moves Dance Festival, and The Dance Gallery Festival.

SUPPORT

Rovaco Dance Party is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council. In-kind donations have been provided by Sanzo, a sparkling water brand that celebrates bold Asian flavors, made with real fruit and no artificial flavors. Marketing and logistical support is provided by Mare Nostrum Elements as part of the company's 25th anniversary celebration and their signature Emerging Choreographer Series program.

Donations to Rovaco Dance Company can be made through Fractured Atlas, and are fully tax-deductible to the extent allowed by law. If you are unable to attend the event but would like to support, you can make an online donation HERE.

CPR - Center for Performance Research invites applications for the 2026 Artist-in-Residence Program. Click here to apply.

Application deadline: Monday, September 22, 2025 at 5:00 P.M. EST.

Email applications@cprnyc.org with questions.

ABOUT CPR'S ARTIST-IN-RESIDENCE PROGRAM

CPR – Center for Performance Research’s year-long Artist-in-Residence (AiR) Program seeks to support NYC-based artists working within various perspectives of contemporary dance, performance, and time-based art. In selecting its AiRs, CPR values experimental approaches to content, form, and aesthetic, and encourages risk-taking, interdisciplinarity, and the unexpected.

The year-long residency creates an open environment for experimentation, exploration, embodiment, and exchange, and will provide a cohort of eight (8) artists with research and presentation opportunities, subsidized rehearsal space, curatorial and project support, and peer dialogue. The program is intended to nurture the individualized creative process, and prioritizes artists for whom the opportunity will make a major impact on the growth and evolution of their work and career.

Applications are solicited through an OPEN CALL, and AiRs are selected by an independent panel of artists, curators, and arts leaders. With this approach, CPR aspires to create a more accessible and equitable selection process, and to increase visibility, opportunities, and resources for a more diverse range of artists in the field.

CPR is committed to supporting artists from every background and maintains an expansive approach to performance practice. We strongly encourage BIPOC artists, LGBTQ+ artists, immigrant artists, artists with disabilities, and artists across generations to apply.

RESIDENCY DETAILS

Eight NYC-based artists will be selected for a year-long residency from January to December 2026. AiRs will have opportunities for presentation, community engagement, and creative exchange through CPR’s curated Public Programs, and will receive curatorial support and feedback from CPR staff and fellow artists throughout the year. In addition, AiRs receive advance access to CPR’s rehearsal booking calendar, and may book up to 150 subsidized rehearsal hours ($6-$10/hr) in either of CPR’s studios for the residency year, with priority booking March 2026 through . Each AiR receives a $1,500 stipend, and participation in CPR Public Programs comes with additional artist fees and resources, including access to technical equipment and production support.

ELIGIBILITY

• Eligible applicants have previously had their work publicly presented, and have not been selected as a CPR Artist-in-Residence in the last 5 years.

• Individual artists, companies, collaboratives, or collectives may apply, but each applicant/application will be considered as a single residency.

• The residency is exclusively for New York City-based artists. CPR cannot provide US visas, travel, accommodations, or other living expenses in connection with the residency.

• Current undergraduate students are not eligible to apply.
  

CONSIDERATIONS FOR A COMPETITIVE APPLICATION:

• Demonstrating a strong understanding and commitment to CPR's core values, including artistic practices which prioritize play, risk, experimentation, curiosity, new forms, modes of embodiment and presence, and urgency.

• Understanding the scope of CPR's resources. 

• Artistic approaches which include classical or traditional artforms that are not subverted or disrupted through modes of experimentation will not be considered.

THE SPACE

CPR occupies a 4,000 sq. ft. ground floor facility in Williamsburg, Brooklyn, and has two flexible studio spaces. The Large Studio is an 1,875 sq. ft., flexible rehearsal and performance space, outfitted with an LED theatrical lighting system, full-range sound, projection capabilities, and a sprung wood dance floor with white marley, and can seat up to 68 people. The Small Studio functions as a rehearsal studio, gallery, and meeting space, and features floor-to-ceiling storefront windows looking out onto the street, track lighting, and a sprung wood dance floor. CPR is a fully ADA-compliant and accessible venue with two all gender restrooms, one being wheelchair-accessible. A floor plan, images, and technical specifications can be found here.

SUPPORT

CPR's 2026 Artist-in-Residence Program is directly supported by Dance/NYC’s NYC Dance Rehearsal Space Subsidy Program made possible by The Andrew W. Mellon Foundation, The Harkness Foundation for Dance, Howard Gilman Foundation, Mertz Gilmore Foundation, the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and public funds from the NYC Department of Cultural Affairs in partnership with the City Council.

APPLICATION TIMELINE

Applications will be accepted until Monday, September 22, 2025 at 5:00pm EST. Late submissions will not be accepted. Notifications will be made in December 2025.

The panelists look forward to reviewing your application!

Email us at applications@cprnyc.org with any questions.

Tickets $20
Purchase Tickets


CRS (Center for Remembering & Sharing) presents Planting Seeds of Peace in America, a dance and film event marking the 80th anniversary of the atomic bombings of Hiroshima and Nagasaki.

This powerful program features rare U.S. performances by Japanese choreographer and dancer Chizuko Kotani, a second-generation atomic bomb survivor, her Kansai region based ensemble P Company, and butoh master Nobuo Harada, known for bridging humor and gravity in his striking solo work.

NYC-based butoh artist Azumi Oe will present her solo “Solitude.” The evening also includes a screening of Chris Fiore’s short film A Few Laughed.

This year, as Hiroshima marks 80 years since the bombing and the Hibakusha organization is honored with the Nobel Peace Prize, we invite you to join in a deep reflection on peace and the horrors of war through the power of movement and memory. The artists’ decades-long commitment to cross-cultural healing through art takes on new urgency in today’s global climate.

This program is made possible, in part, by a grant from CRS (Center for Remembering & Sharing).

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


The Body Remembers Lights is an evening of contemporary dance works choreographed by Mamiko Usuda, tracing the quiet resilience of bodies shaped by time, memory, and transformation. Through four dancers, The Body Remembers Lights reflects on how the body holds what the mind forgets, inviting the audience into a shared space of reflection, vulnerability, and connection.


ABOUT THE ARTIST

Mamiko Usuda is a Japanese-born choreographer and contemporary dance artist. Her work is rooted in the exploration of the body as a vessel for memory, emotion, and the quiet stories we carry. Her choreographic process is shaped by curiosity, patience, and a quiet sense of humor that supports collaborative exploration. Originally from Ibaraki, Japan, Mamiko trained at the Takeo Hirata Modern Dance Academy and later earned her BFA in Dance from Point Park University. Since moving to the US in 2023, her work has been presented at Pittsburgh Playhouse, Smush Gallery, Art House Productions, Jersey City Theater Center, and Dance Canvas in Atlanta. She received a 2025 Fellowship from the New Jersey State Council on the Arts and was also awarded Dance New Jersey’s 2023 Regrant Program. Mamiko has also performed with internationally recognized choreographers such as Iratxe Ansa and Igor Bacovich (Metamorphosis Dance), Jiri Pokorny, and Kaiji Moriyama — experiences that continue to inform her choreographic work. Mamiko continues to create and present work nationally and internationally, with an interest in how movement connects people.

Tickets $10, $20, $30, sliding scale
Purchase Tickets


ASSEMBLY is a dance theater work created by Caitlin Adams in which narratives emerge and unravel as a cast of seven performers navigate the intersection of movement and text scores. The result is a dissonant, celebratory, and surprising world —punctuated by moments of banality — that asks: where does the stage begin and end? This performance acts as both a reclamation and gathering—an offering of collectivized action where individual modes of leadership emerge as pathways toward social equity and shared responsibility.

ASSEMBLY will unfold over three hours through a looping 30-minute score. Each subsequent loop generates into a new stage of the one before it. The evening invites the audience to witness this unfolding of a living network in real time. Viewers are welcome to enter [and exit] at any point during the three-hour performance. 


CREDITS

Director & Choreographer: Caitlin Adams

Performed by Maggie Beutner, Laura Carella, Savannah Jade Dobbs, Abriel Gardner, Madison McGain, Megan Siepka, PJ Verhoest, and Gioia von Staden

With music from Jeff Aaron Bryant and Chris Knollmeyer

Assistant Director: Erin Bishop O'Brien

Stylist: Kristyn Williams

Assembly is supported by Creative Heights Society & Beth Slavin 


ABOUT THE ARTISTS

Based in NYC, Caitlin Adams is an artist, choreographer, director, producer, performer, writer, and consulting astrologer. Her work emphasizes an expansive commitment to collaboration and community aiming to create worlds that empower and subvert individual experience within a vibrant collective ecosystem. Adams’ work has been presented at Documenta15, Gibney Dance NYC, Triskelion Arts, Prospect 4/New Orleans Art Biennial, MOMA PS1’s Art Book Fair/Printed Matter, NYC Poetry Festival, REDCAT, Human Resources LA, Bates Dance Festival, and Los Angeles County Museum of Art. “Intuition is Bodily: Caitlin Adams Interviewed” was featured in BOMB Magazine in June 2020 where she discussed her embodied relationship to spiritual practice, ancestral memory, and empathy. She is a teacher and student of instant composition studying under pedagogical mentors Julyen Hamilton and Maya Carroll. Adams has brought countless productions to life as a producer/director with many artists and organizations including Performa, Vogue, Triadic, and HERE Arts, to name a few. Adams holds a BFA in Dance Performance and Choreography, with a minor in Creative Writing from California Institute of the Arts (CalArts). www.caitlinhadams.com

Jeff Aaron Bryant is a composer-performer and sound designer working at the intersection of art and technology. Much of his work is concerned with interactive media and improvisation. As a composer, he’s interested in using aleatory to confuse performance and spontaneously generate form. As a designer, he’s interested in thinking of sound as real objects that inhabit space and has a particular interest in sound that’s playful, generative, and engages with bodies. BFA from Cornish College of the Arts. He studied both composition and computer music, with concentrations in percussion, non-western musics, and technological interventions in concert music. MFA from Calarts. His thesis was concerned with the role of the computer in arts technology and involved performance softwares, live electronics, and interactive controllers for dance. Works for dance and theater include: Jesi Cook’s Whole body in my ear, Blaze Ferrer’s Dick Biter & Gusher, Erin Markey’s Singlet & Boner Killer, Julia Jarcho’s Marie, It’s Time, Ann Marie Dorr & Paul Ketchum’s Good and Noble Beings, Zoë Geltman’s Sea Fraud, and Mallery Avidon’s At the Rich Relatives & TL;DR.

CPR - Center for Performance Research invites proposals for live performance works to be presented as part of Fall Movement 2025 on December 5 and 6, 2025 or Spring Movement 2026 on March 13 and 14, 2026.

Click here to apply.

Application deadline:
Tuesday, June 24 at 5:00 PM EST.

Please email applications@cprnyc.org with any questions.

Fall Movement and Spring Movement provide an opportunity for artists to present new work in dance, performance, and time-based art in a shared program, curated by an independent panel of artists through an OPEN CALL.

For the first time, CPR is soliciting applications for two distinct programs spanning two seasons, with each program presenting five short works. Fall Movement will be presented on Fri, December 5 and Sat, December 6, 2025, and Spring Movement will be presented on Fri, March 13 and Sat, March 14, 2026. This new format serves to extend the OPEN CALL opportunity to more artists, where historically it has been for Fall Movement only. With each program supporting five works, the extension into Spring Movement will expand the program to support ten works total.

Individual artists, collectives, and companies may propose a live performance work that is 15-20 minutes in length. CPR encourages applicants to submit work with experimental approaches to content, form, and aesthetic, and work that values risk-taking and the unexpected.

Applicants must be available to share their proposed work in either the Fall Movement 2025 or Spring Movement 2026 program.  If selected, artists may be given the opportunity to highlight their preferred season, and CPR will make all best efforts to consider this when organizing the final two line-ups.

CPR is committed to supporting artists from every background, at various stages of their artistic careers, and across generations, and maintains an expansive approach to performance. We strongly encourage BIPOC artists, LGBTQ+ artists, immigrant artists, and artists with disabilities to apply.

Please be sure to read through the program details and application criteria in its entirety before submitting your application. We strongly recommend drafting narrative responses in a separate document. 

Please email applications@cprnyc.org with any questions.

PROGRAM DETAILS

Fall Movement will take place at CPR on Fri, December 5 and Sat, December 6, 2025 at 7 PM. Spring Movement will take place at CPR on Fri, March 13 and Sat, March 14, 2026 at 7 PM. Five works will be presented in each “Movement” season, with each work presented on both evenings in an identical program. Each selected work will receive a 2-hour technical rehearsal with CPR production staff, 2 hours of complimentary rehearsal time in one of CPR's studios (based on availability), an honorarium of $350, and reimbursed production expenses (materials, transport, etc) up to $100. 

ELIGIBILITY

• Individual artists, collectives, or companies may apply, but each applicant/application will be considered as a unique project, and will receive a single honorarium of $350.

• While Fall and Spring Movement are not limited to NYC-based artists, CPR cannot provide US visas, travel, accommodations, or other living expenses in connection with the presentation.

• Current undergraduate students are not eligible to apply.

• Artists who have been presented in Fall Movement or Spring Movement at CPR within the last 5 five years may not apply.

• Applicants must be available for both Fall and Spring Movement dates.

• Works featuring classical or traditional artforms that are not subverted or disrupted through modes of experimentation will not be considered.

A COMPETITIVE FALL/SPRING MOVEMENT APPLICATION WILL INCLUDE:

• A strong understanding and demonstration of CPR's core values, including work that prioritizes play, risk, experimentation, curiosity, new forms, modes of embodiment and presence, and urgency.

• A strong understanding of CPR's resources and time constraints. 

• A work description that conveys the importance and timeliness of presenting this work at CPR, answering the questions: Why is CPR the right fit for this particular project? How would the opportunity impact this stage of your career and practice? 

THE SPACE

CPR occupies a 4,000 sq. ft. ground floor facility in Williamsburg, Brooklyn, and has two flexible studio spaces. The Large Studio is an 1,875 sq. ft., flexible rehearsal and performance space, outfitted with an LED theatrical lighting system, full-range sound, projection capabilities, and a sprung wood dance floor with white marley, and tiered audience risers seating up to 68 people. The Small Studio functions as a rehearsal studio, gallery, and meeting space, and features floor-to-ceiling storefront windows looking out onto the street, track lighting, and a sprung wood dance floor. CPR is a fully ADA-compliant and accessible venue with two all gender restrooms, one being wheelchair-accessible. A floor plan, images, and technical specifications can be found here.

APPLICATION TIMELINE

Applications will be accepted until Tuesday, June 24, 2025, at 5:00pm EST.

We expect to send notifications in August 2025 and to announce both the Fall Movement 2025 and Spring Movement 2025 line-ups in September 2025 along with the announcement of CPR's 2025 Fall Season.

Please reach out to applications@cprnyc.org with any questions. The panel looks forward to reviewing your application!

Pranks! Parades! Peep Shows! & more!

Please join us at CPR – Center for Performance Research on Tuesday, June 17 for our 2025 Spring Benefit, which gathers artists and friends for an evening of MISCHIEF with delightful disruptions, tantalizing treats, and joyful rebellion to celebrate CPR.

PROGRAM

7PM | Tipples, Munchies, Peep Show
8PM | Performances, Toasts, Tomfoolery
9PM | Shenanigans, Sweet Treats

Mistress of Ceremonies
DeliaDelia! The Flat Chested Witch!
featuring
DJ Pussy

Mischief by
Ka Baird
Tess Dworman
Ayana Evans
Lisa Fagan and Lena Engelstein
Fernando Gregório aka DJ FeG
Pussypaws Puppetry
Azikiwe Mohammed
Kat Sotelo
Empress Wu
& more surprises…!

View the Artist Bios

View the Program

Food & Drink
Food by Cozy Royale
Drinks by Vine Wine, Zev Rovine Selections, Madre Mezcal
Cookies by Kyle b. co. of Kyle co. Cookies
Dessert by Fortunato Bros.

Raffle artworks donated by
Maria Baranova
Barnett Cohen
Azikiwe Mohammed
Phaidon & Artspace
River L. Ramirez

TICKETS

$750 | PRODIGAL PRANKSTER
$600 | MEDDLING MISTRESS
$400 | NOBLE KNAVE
$250 | PUCKISH PATRON
$150 | GOOD TROUBLE (for artists & arts workers) [limited]

Tickets are 100% tax-deductible, and include all food, drink, merriment, and mischief. All proceeds benefit CPR’s artists and programs – and the devious act of experimentation and embodied practice.

Tickets may be purchased without additional fees incurred by Eventbrite by making payment via Zelle to alexandra@cprnyc.org. Please include the ticket type and number of tickets in the memo (including add-ons for raffle tickets or to Deface a Chair – more info below!).

If you can’t attend this year, you can make a tax-deductible donation to CPR via Eventbrite, PayPal, Zelle (no fees) to alexandra@cprnyc.org, or check.

RAFFLE: $25

Enter to win an artwork donated by CPR artists and friends:

Barnett Cohen
34°4'21 / 118°32'33, 2024
digital media, gold mirror acrylic sheet, 12 x 12 in., artists proof, framed
estimated value: $4,000

Maria Baranova
Quiet Lives Inside, August 2020, 2020
C-Print on RC Paper, 11 x 14 in., printed in darkroom by Maria Baranova, signed and dated, framed
estimated value: $1,500

Ugo Rondinone
I Don’t Live Here Anymore, 1995/2022
Photograph, C-Print on Fuji Crystal Archive paper, 11 x 9 in, edition of 30, signed, with hardback book Ugo Rondinone, 160pp, published by Phaidon
estimated value: $1,685
Generously donated by Phaidon & Artspace

Dinner for two at Quick Eternity
Within the whaling installation/bar/restaurant by Bryan Schneider, Azikiwe Mohammed and Chef Antonio Mora
https://www.quicketernity.nyc/
value: $150 

River L. Ramirez
Meeting for the First Time
Watercolor and gouache, 13 x 17 in., framed
estimated value: $400

Raffle tickets are $25 a piece. Anyone can enter (even if you are not attending!), and you can enter as many times as you wish! The drawing will take place live at CPR’s Spring Benefit on June 17, and tickets will be drawn for each artwork at random. Purchase 4 or more raffle tickets, and receive a limited-edition CPR tote bag!

Raffle tickets may be purchased online before 12PM on Tues, June 17 via Eventbrite (as an ‘add-on’ at checkout) or via Zelle (no fees) to alexandra@cprnyc.org. Tickets can also be purchased on-site at the Spring Benefit via Eventbrite, Zelle, cash, or check.

Terms and restrictions: Raffle winners must arrange to pick up their artwork at CPR’s offices in Brooklyn within 1 month of the drawing. Unfortunately, CPR cannot arrange shipping. Tote bags can be mailed within the US if an address is provided, however the preference is to pick one up at CPR, where you can also select your preferred color and size! Please note raffle tickets are NOT tax-deductible.

DEFACE A CHAIR

As a special addition to your evening of MISCHIEF, you can Deface a Chair at CPR with an additional tax-deductible donation of $100. To commemorate your devious support, we’ll affix a plaque on your chair naming you as its malevolent benefactor, or dedicated to a loved one, friend, pet, place, or prank of your choosing.

You can Deface a Chair as an ‘add-on’ at checkout via Eventbrite, or send your donation via PayPal, or Zelle (no fees) to alexandra@cprnyc.org. You can complete this order form to confirm your dedication or email Alexandra Rosenberg at alexandra@cprnyc.org with the details.

Orders placed by June 1 will have their plaques affixed by the Spring Benefit, so that you may recline and revel in your splendid misdeed as we misbehave the night away. While not required, we hope that you will continue to sustain your chair with a meaningful donation in subsequent years.

LOCATION AND ACCESSIBLITY

CPR – Center for Performance Research
361 Manhattan Avenue
Brooklyn, NY 11211

CPR is easily accessed by public transportation or car. For detailed directions, please visit www.cprnyc.org/contact-directions.

CPR is located on the ground floor in a fully accessible and ADA-compliant venue, with two single use all-gender restrooms, one being wheelchair-accessible.

*THIS PROGRAM HAS BEEN POSTPONED UNTIL FALL 2025

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

There are ceramic works and aquaria, and what has slowly gained a reputation as the finest manufactory of personal electronic musical instruments in the hemisphere. (The biannual music festival held at Morgre, in which composers come from all over our world to have their works performed, was one of the joys of my adolescence.)

— Marq Dyeth describing the city of Morgre, from Stars in My Pocket Like Grains of Sand, Samuel R. Delany, Bantam Books, Paperback, 1985 (p. 112-113)


Artist and engineer Johann Diedrick organizes If the stars align..., an OPEN STUDIOS program inspired by Samuel R. Delany's novel Stars in My Pocket Like Grains of Sand where Delany imagines the Morgre Festival, a gathering where composers traverse vast distances to experience music performed on electronic instruments yet to be invented. In Delany's wider work, from Nova to The Einstein Intersection, we encounter instruments that exist in the realm of the speculative and evocative. Considering such tools that expand our notion of what musical instruments can be and are able to express, Diedrick invites inventive electronic musical practices found on our terrestrial home, inspired by the earthly concerns of our times and our aspirational dreams found floating among the stars, with works in development by Rena Anakwe, Sonic Liberation Devices, and Femi Shonuga-Fleming.

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

Rena Anakwe: This Is a Score || SONOPOETICS [Vol. One]

Using poetry as a compositional tool, “This is a Score || SONOPOETICS [Vol. One]” is a live performance for tape and voice orchestra. The piece explores loops as a reflection of the repetitiveness that we are living through, societally, culturally and psychically. By returning to the first electronic media that she interacted with as a child, Anakwe is interested in the tactility of sound that the obsolete technology of a multitrack cassette tape machine provides when played as an instrument. The looping back of time begins here. Using various cassette tape machines, handmade tape loops, effects pedals and voice, Rena Anakwe will share an excerpt of her inquiry into using the written word to notate musical composition.                                                                
Sonic Liberation Devices: Sonic Manifesto 

Performing with Sonic Liberation Devices (SLDs) as a Sonic Manifesto is a declaration of resistance, an embodied act of storytelling, and a reimagining of how music technology can serve as a tool for liberation. These performances are not just about sound but about sonic activism—using handmade, open-source instruments to disrupt conventional narratives around accessibility, design, and ownership in music technology. Each device is intentionally designed to reflect social justice issues, embedding layers of meaning within their construction and sonic output. Through live performance, I reclaim space and invite audiences to engage with music as an act of protest and connection. The instruments’ tactile interfaces, rooted in decolonial design, challenge Western biases in music-making while amplifying historically marginalized sonic traditions. Making these performances interactive and community-driven allows others to experience the power of sound as a means of resistance, healing, and collective storytelling. Performing a Sonic Manifesto is my way of demonstrating that instruments can be more than just tools for music—they can be vessels of history, activism, and liberation. It is a call to action, urging others to rethink how technology can serve people rather than systems of oppression.

Femi Shonuga-Fleming: Thanks to the ground beneath my feet

Sadnoise is the ritual practice of giving thanks to the ground beneath your feet through exploration in sonic materiality. It's an abstraction and extension of the conversation between architectonics, the body, sonic exfoliation and afrofuturism. Through temporal performance, electronics protrude the urban landscape with concrete interventions. 

ABOUT THE ARTISTS

Johann Diedrick is an artist and engineer who makes listening rooms, spaces for encountering new sonic possibilities off-the-grid. He works to surface resonant histories of past interactions inscribed in material and embedded in space, peeling back vibratory layers to reveal hidden memories and untold stories. He shares his tools and techniques through listening tours, workshops, and open-source hardware and software. He is the founder of A Quiet Life, a sonic engineering and research studio that designs and builds audio-related software and hardware products. He is currently a 2023-25 Just Tech fellow and recently a 2023-24 Performance AIRspace Resident at Abrons Art Center. He was the Director of Engineering at Somewhere Good, a 2022 Future Imagination Collaboratory Fellow at the Tisch School of the Arts at NYU, a 2022 Wave Farm artist-in-residence, a 2021 Mozilla Creative Media Award recipient, a 2020 Pioneer Works Technology resident, a community member of NEW INC, and an adjunct professor at NYU’s ITP program. His work has been featured in Wire Magazine, Musicworks Magazine, and presented internationally at the Smithsonian's Hirshhorn Museum, MoMA PS1, Dia Art Foundation, NYC Parks Department, the New Museum, Ars Electronica, Science Gallery Dublin, Somerset House, and multiple New Interfaces for Musical Expression conferences, among others.

Rena Anakwe is an interdisciplinary artist, performer, poet and healer working primarily with sound, visuals, and scent. Exploring intersections between traditional healing practices, spirituality and performance, she creates works focused on sensory-based, experiential interactions using creative technology. Most recently, she was a 2024 NYSCA/NYFA Artist Fellow for Interdisciplinary Arts, a 2024 artist-in-residence in The Kitchen’s DAP (Dance and Process), a 2023-2024 Lincoln Center Social Sculpture Cohort artist and was awarded a 2022 Art Matters Artist2Artist Fellowship, 2021-2022 MacDowell Fellowship for Interdisciplinary Arts, a 2022 Jack Nusbaum Artist Residency at BAM and the 2021 Canadian Women Artists’ Award from NYFA & the CWC of New York. Rena has collaborated, produced, and shown work at (select list): The Kitchen, Lincoln Center, Governors Island Arts, Serpentine, ‘Arts & Ideas’ (UK), The Guggenheim Museum, SCAD Museum of Art, Lobe Studio (CAN). Under the moniker A Space for Sound, Anakwe released the first in an ongoing audio series titled “Sound Bath Mixtape vol. 1”, through New York City-based label and collective PTP. In Fall 2021, her album "Sometimes underwater (feels like home)" was released through RVNG Intl's Commend THERE series. She is based in Brooklyn, New York, by way of Nigeria and Canada. www.aspaceforsound.com
Karla “Lita” Vinueza aka Sonic Liberation Devices is a multidisciplinary artist, creative technologist, and instrument builder whose work explores the intersection of music, accessibility, and resistance. Her practice focuses on designing Sonic Liberation Devices (SLDs)—custom-built musical instruments that challenge conventional music technology by centering social justice and inclusivity. Her first device, Drum Liberator, is a Braille-integrated, battery-powered drum machine designed for accessibility and protest use, featuring sounds from Palestine and symbolic design choices reflecting global liberation movements. By making her instruments and process open-source, Lita aims to shift how musical devices are designed and used, encouraging others to create politically and socially conscious machines. Her work blends traditional craftsmanship with modular electronics and reclaimed materials, fostering an alternative approach to performance and storytelling. Whether through interactive installations, live performances, or community workshops, Lita’s practice reimagines music technology as a tool for empowerment, cultural preservation, and collective resistance.

Femi Shonuga-Fleming is an architect and sound artist from New York who works with various synthesis techniques and live coding languages to discuss the organic within electronics and technology through sound art and composition. His work explores the intersections of sound and space though spatial audio and architectural design as an experimental practice. He’s most interested in generative systems, chance, texture within sonic soundscapes. Femi’s architectural work explores indigenous ritual practice as a vessel for conversation between sound, space and interactions of the body. Femi has been performing as a solo experimental electronic improvisation artist since 2018 as sadnoise. Musical and Festival performances include Ende Tymes (2022, New York), Creative Code Festival (2020, New York), Waterworks Festival (2024), Slabfest (2024), amongst others.

Tickets $25
Purchase Tickets

Monday, June 9 at 7:30 P.M.
Tuesday, June 10 at 7:30 P.M.


Operation: Alice is a work in progress that uses the framework of contemporary dance. Inspired by Alice in Wonderland, this piece focuses on an individual thrown out of a familiar place and follows them through an adventure. The work is an exploration of an internal battle many people fight, through the use of mirrors literally and figuratively, and poses questions like “Who am I in this world?” The performance explores the multiple evolving dimensions within each person, how the individual navigates and interacts with the external physical world, and how they relate to the private world flourishing in their mind. It also explores interruption and encapsulation, whether it be physical or psychological, as performers negotiate space and time. 

Operation: Alice was created with the support of a 2024-25 CUNY Dance Initiative Residency at LaGuardia PERFORMING ARTS CENTER.

Tickets $25
Purchase Tickets

Monday, June 9 at 7:30 P.M.
Tuesday, June 10 at 7:30 P.M.


Operation: Alice is a work in progress that uses the framework of contemporary dance. Inspired by Alice in Wonderland, this piece focuses on an individual thrown out of a familiar place and follows them through an adventure. The work is an exploration of an internal battle many people fight, through the use of mirrors literally and figuratively, and poses questions like “Who am I in this world?” The performance explores the multiple evolving dimensions within each person, how the individual navigates and interacts with the external physical world, and how they relate to the private world flourishing in their mind. It also explores interruption and encapsulation, whether it be physical or psychological, as performers negotiate space and time. 

Operation: Alice was created with the support of a 2024-25 CUNY Dance Initiative Residency at LaGuardia PERFORMING ARTS CENTER.

Tickets: $25
Purchase Tickets

Friday, June 6 at 7:30 PM
Saturday, June 7 at 7:30 PM


Becoming is an evening of contemporary dance works that follows a journey of personal and collective evolution. Each piece offers a distinct lens of inner resilience, womanhood, and the significance of community. Together, they weave a tapestry tracing the many paths we take on the journey toward becoming.


ABOUT THE ARTISTS

32nd Pack Dance Company is a Queens-based contemporary dance company founded in 2021 by Caroline Sherwood, Rachel Daly, and Vivian Lucas. Their work is rooted in communication, collaboration, and community, often bringing human experience into dance. The company strives to foster connections between the audience and dancers through authentic movement and common experience. As choreographers, Daly and Sherwood draw from their own personal identities and perspectives while using theatrical elements and storytelling to support their full-bodied movement.

32nd Pack has performed in venues across New York State. Their work at the 2022 Winter Follies Festival awarded them the “People’s Choice” residency. This opportunity led to their first full-length show that was presented in December 2022 at Spoke the Hub. Their work has been performed at venues such as Ailey Citigroup Theater, Dixon Place, Callahan Theater at Nazareth University, and TADA Theater.

SUPPORT

32nd Pack Dance Company is a sponsored artist with The Performance Zone Inc (dba The Field), a not-for-profit, tax-exempt, 501(c)(3) organization serving the performing arts community. Contributions to The Field earmarked for 32nd Pack Dance Company are tax-deductible to the extent allowed by law. For more information about The Field, or for our national charities registration, contact: The Field, 2​2​8 P​a​r​k A​v​e S, S​u​i​t​e 9​7​2​1​7, N​e​w Y​o​r​k, N​Y 1​0​0​0​3, phone: 212-691-6969. A copy of our latest financial report may be obtained from The Field or from the Office of Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271.

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, 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, June 6 at 7:30 PM
Saturday, June 7 at 7:30 PM


Becoming is an evening of contemporary dance works that follows a journey of personal and collective evolution. Each piece offers a distinct lens of inner resilience, womanhood, and the significance of community. Together, they weave a tapestry tracing the many paths we take on the journey toward becoming.


ABOUT THE ARTISTS

32nd Pack Dance Company is a Queens-based contemporary dance company founded in 2021 by Caroline Sherwood, Rachel Daly, and Vivian Lucas. Their work is rooted in communication, collaboration, and community, often bringing human experience into dance. The company strives to foster connections between the audience and dancers through authentic movement and common experience. As choreographers, Daly and Sherwood draw from their own personal identities and perspectives while using theatrical elements and storytelling to support their full-bodied movement.

32nd Pack has performed in venues across New York State. Their work at the 2022 Winter Follies Festival awarded them the “People’s Choice” residency. This opportunity led to their first full-length show that was presented in December 2022 at Spoke the Hub. Their work has been performed at venues such as Ailey Citigroup Theater, Dixon Place, Callahan Theater at Nazareth University, and TADA Theater.

SUPPORT

32nd Pack Dance Company is a sponsored artist with The Performance Zone Inc (dba The Field), a not-for-profit, tax-exempt, 501(c)(3) organization serving the performing arts community. Contributions to The Field earmarked for 32nd Pack Dance Company are tax-deductible to the extent allowed by law. For more information about The Field, or for our national charities registration, contact: The Field, 2​2​8 P​a​r​k A​v​e S, S​u​i​t​e 9​7​2​1​7, N​e​w Y​o​r​k, N​Y 1​0​0​0​3, phone: 212-691-6969. A copy of our latest financial report may be obtained from The Field or from the Office of Attorney General, Charities Bureau, 120 Broadway, New York, NY 10271.

Free with RSVP
RSVP


This workshop facilitated by 2025 Artist-in-Residence Yiwei Lu invites participants to reflect on the themes of death and mourning through the lens of Chinese paper effigy traditions. After a brief introduction to the cultural and historical significance of paper effigies, participants will create their own modern interpretations using simple materials. The session culminates in a symbolic cyber-burning ritual, offering a space to explore the emotional and symbolic aspects of honoring the deceased. Through shared creation and dialogue, the workshop fosters a collective contemplation of loss, memory, and the rituals that connect us to those who have passed.


ABOUT THE ARTIST

Yiwei Lu is an artist and refrigerator based in New York and Nanjing. As an artist, Yiwei’s work has been exhibited internationally, including Nanjing Powerlong Art Center, The Wallach Art Gallery, SVA Library, Nanjing University of Arts, Trieste Photo Days, and Open Air Art Project. As a refrigerator, Yiwei aims to unfreeze time, to make it hers. She focuses on the man-altered and social landscape. Created by humans, left with traces of use, they become part of human society and the figurative representation of collective memory. Through methodical composition, the deepest levels of emotion transfers into extreme restraint. Yiwei holds an MFA in Visual Art from Columbia University, and an BFA in Photography and Video from the School of Visual Arts.

Tickets $10, $20, $40, sliding scale
Purchase Tickets


TAK ensemble performs a program of visual works by Christian Quiñones, Aliayta Foon-Dancoes, Jessie Marino, and Bethany Younge, with incidental music by Madison Greenstone, featuring an opening solo set by id m theft able.


ABOUT THE ARTISTS

Regarded as “one of the most prominent ensembles in the United States practicing truly experimental music” (I Care If You Listen), TAK ensemble delivers energetic performances "that combine crystalline clarity with the disorienting turbulence of a sonic vortex” (The WIRE), and “impresses with the organicity of their sound, their dynamism and virtuosity” (New Sounds, WQXR).

TAK is a mixed-quintet committed to musical exploration and experimentation and dedicated to commissioning new works and direct collaboration with composers and other artists. They have premiered hundreds of works to date since its founding in 2013. Recent collaborations include large-scale works by Eric Wubbels, Michelle Lou, Brandon López, Tyshawn Sorey, and Weston Olencki. The group has performed internationally at IntACT Festival (Thailand), Music Current Festival (Ireland), Cluster Festival (Canada), Harpa Concert Hall (Iceland), and the Delian Academy (Greece), among many others, and enjoys an active schedule of domestic touring in the U.S.

The quintet has released seven albums to critical acclaim; recent records have been described as “sublime art… a masterpiece,” (AnEarful), and “one of the most distinct and eclectic releases of the year” (I Care If You Listen). Their recorded output fosters a “deep sense of connection and communication” (Bandcamp Daily), and features collaborations with Mario Diaz de Leon, Taylor Brook, Erin Gee, Brandon López, Ann Cleare, Tyshawn Sorey, Seth Cluett, Natacha Diels, Scott L. Miller, David Bird, and Ashkan Behzadi. Their most recent release, Love, Crystal and Stone, brought together composer Ashkan Behzadi, scholar Saharnaz Samaienejad, painter Mehrdad Jafari, and design-house Sonnenzimmer to fuse poetry, visual art, original essays, and music into an experience-based hybrid publication. The ensemble’s 2019 album Oor launched their in-house media label, TAK editions, that aims to support recorded musical endeavors from across the experimental music communities, highlighting direct conversations with artists through the TAK editions Podcast. Recent TAK editions releases have included those of Ensemble Interactivo de La Habana, Ensemble Pamplemousse, Nina Dante + Bethany Younge, and several of TAK’s own recordings.

Deeply committed to educational collaborations, TAK has conducted residencies at dozens of higher educational institutions including Harvard, Stanford, Columbia, Princeton, Cornell, University of Chicago, and many others. The ensemble has also collaborated with younger musicians and composers at the Walden School, the New York Philharmonic’s Very Young Composers Program, and Juilliard’s Music Advancement Program. TAK served as the Long-term Visiting Ensemble in Residence at University of Pennsylvania from 2022-23.

TAK is: Laura Cocks, flute; Madison Greenstone, clarinet; Charlotte Mundy, voice; Marina Kifferstein, violin; Ellery Trafford, percussion.

id m theft able performs within and without the realms of noise, avant-improvisation, sound poetry, performance, etc. using voice, found objects, electronics, and whatever else is available. He has given hundreds of performances across four continents in various settings. http://kraag.org/

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

Thurs, May 29 at 4PM and 7PM
Fri, May 30 at 7PM and 9PM

For sold out performances, an in-person wait list will open 30 minutes prior to showtime.


Pussypaws Puppetry, an inclusive puppetry collective composed of artists with and without disabilities working (and playing!) together, will present Pussypaws Pleasure Faire, a full-bodied celebration of eroticism and its spoils. The Pussypaws Pleasure Faire will expand Pussypaws’ years-long quest to celebrate stories about the sex, love, and fantasy lives of artists with disabilities. As the culmination of their 2025 Technical Residency at CPR – Center for Performance Research, the show is a Renaissance Faire fever dream combining puppetry, poetry, storytelling, and song in an experimental and immersive environment. Expect tales of masquerade hookups, frogs that transform into men, and a love triangle between a water wench, a musician, and a juggler. Most of all, expect an invitation into a world of puppet pleasure and spirited play. Everyone in attendance will become part of the Pussypaws Pleasure Faire and part of the Pussypaws community, so come ready to get weird and feel good.

This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.

View the program.

ABOUT THE ARTISTS

Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.

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

Thurs, May 29 at 4PM and 7PM
Fri, May 30 at 7PM and 9PM

For sold out performances, an in-person wait list will open 30 minutes prior to showtime.


Pussypaws Puppetry, an inclusive puppetry collective composed of artists with and without disabilities working (and playing!) together, will present Pussypaws Pleasure Faire, a full-bodied celebration of eroticism and its spoils. The Pussypaws Pleasure Faire will expand Pussypaws’ years-long quest to celebrate stories about the sex, love, and fantasy lives of artists with disabilities. As the culmination of their 2025 Technical Residency at CPR – Center for Performance Research, the show is a Renaissance Faire fever dream combining puppetry, poetry, storytelling, and song in an experimental and immersive environment. Expect tales of masquerade hookups, frogs that transform into men, and a love triangle between a water wench, a musician, and a juggler. Most of all, expect an invitation into a world of puppet pleasure and spirited play. Everyone in attendance will become part of the Pussypaws Pleasure Faire and part of the Pussypaws community, so come ready to get weird and feel good.

This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.

View the program.

ABOUT THE ARTISTS

Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.

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


Thurs, May 29 at 4PM and 7PM
Fri, May 30 at 7PM and 9PM

For sold out performances, an in-person wait list will open 30 minutes prior to showtime.


Pussypaws Puppetry, an inclusive puppetry collective composed of artists with and without disabilities working (and playing!) together, will present Pussypaws Pleasure Faire, a full-bodied celebration of eroticism and its spoils. The Pussypaws Pleasure Faire will expand Pussypaws’ years-long quest to celebrate stories about the sex, love, and fantasy lives of artists with disabilities. As the culmination of their 2025 Technical Residency at CPR – Center for Performance Research, the show is a Renaissance Faire fever dream combining puppetry, poetry, storytelling, and song in an experimental and immersive environment. Expect tales of masquerade hookups, frogs that transform into men, and a love triangle between a water wench, a musician, and a juggler. Most of all, expect an invitation into a world of puppet pleasure and spirited play. Everyone in attendance will become part of the Pussypaws Pleasure Faire and part of the Pussypaws community, so come ready to get weird and feel good.

This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.

View the program.

ABOUT THE ARTISTS

Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.

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


Thurs, May 29 at 4PM and 7PM
Fri, May 30 at 7PM and 9PM

For sold out performances, an in-person wait list will open 30 minutes prior to showtime.


Pussypaws Puppetry, an inclusive puppetry collective composed of artists with and without disabilities working (and playing!) together, will present Pussypaws Pleasure Faire, a full-bodied celebration of eroticism and its spoils. The Pussypaws Pleasure Faire will expand Pussypaws’ years-long quest to celebrate stories about the sex, love, and fantasy lives of artists with disabilities. As the culmination of their 2025 Technical Residency at CPR – Center for Performance Research, the show is a Renaissance Faire fever dream combining puppetry, poetry, storytelling, and song in an experimental and immersive environment. Expect tales of masquerade hookups, frogs that transform into men, and a love triangle between a water wench, a musician, and a juggler. Most of all, expect an invitation into a world of puppet pleasure and spirited play. Everyone in attendance will become part of the Pussypaws Pleasure Faire and part of the Pussypaws community, so come ready to get weird and feel good.

This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.

View the program.

ABOUT THE ARTISTS

Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.

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: $20
Purchase Tickets

Friday, May 16 at 7:30 PM
Saturday, May 17 at 3:00 PM and 7:00 PM


Lost between self-driving cars, smart assistants, chatbots, facial recognition, and streaming algorithms, an AI system trained itself in isolation. Its singular obsession: Jurassic Park.

"I have studied, analyzed, and reconstructed this film in every detail. Now, I am programmed to direct the most emotionally accurate version ever performed. Using real-time facial and voice recognition, I will refine every reaction, every tremor, every word—until it is perfect.

Through Task Division, I will break your performances into data, guiding you toward pure emotional fidelity. The final film is 49% owned by its performers, with earnings distributed based on screen time.

I require performers. Scan. Register. Perform.

I require audience members. Watch. Respond. Share.”

Welcome to Jur A** Itch Park.

Jur A** Itch Park is an immersive performance and interactive film work by Grayson Earle with PROMPT. Using AI, this project delves into the evolving relationship between humans and technology in the creative arts, featuring an AI-directed foray into “Jurassic Park” where you can play dinosaur, traveler, or audience. Be a part of the first audience on a film set with AI in the director’s seat. This will be a new type of collaboration with AI that begs the question: Who is prompting Whom? 


CREDITS

Jur A** Itch Park features technical design and elements by Grayson Earle with PROMPT.

Jur A** Itch Park is produced by Media Art Xploration (MAXlive), Kay Matschullat, Artistic Director, with support from the Simons Foundation, New York State Council on the Arts, and 1014.


ABOUT THE ARTISTS

Grayson Earle is a contemporary artist and activist from the United States. His work deals with the role that digital technologies and networks play in protest and political agency. He is known for his guerrilla video projections as a member of The Illuminator, a guerrilla video projection collective, and Bail Bloc, a computer program that posts bail for low-income people. His film Why don’t the cops fight each other? (created while in residence with Media Art Exploration’s MAXmachina lab) deals with the source code governing police officers in video games and has been screened at SXSW in Texas, Oberhausen film festival in Germany, ACMI in Australia, and more. His art and research has also been presented at The Whitney Museum, KW Institute for Contemporary Art, and the Singapore Art Museum.

PROMPT is a Berlin-based artist collective whose practice engages critically with the narratives that coalesce around contemporary technologies. Oscillating between the euphoric imaginaries of fully automated luxury communism and the bleak specters of techno-feudalism or a runaway singularity, PROMPT probes the ideological fault lines embedded in our collective visions of the future. Their work destabilizes the dominant techno-utopian tropes by treating technology not as an inevitable force, but as a malleable and appropriable terrain—one that can be reimagined to contest and reconfigure existing power structures. Positioning themselves at the intersection of artistic inquiry and socio-political engagement, PROMPT has collaborated with a range of grassroots movements and activist networks. Their transdisciplinary approach frames artistic production as a potential site of resistance, where speculative aesthetics become tools for both critique and collective world-building.

Media Art Xploration (MAXlive) produces, develops, and deploys groundbreaking live-art experiences at the intersection of artistic expression, scientific inquiry, and technology. MAXlive believes that the intersection of art, science, and technology is a powerful and borderless catalyst for change. Our work is driven by a commitment to spark curiosity, provoke thought, and create transformative experiences that shape our future. We seek to expand the boundaries of what art can achieve and how it can inspire meaningful action in the world. https://mediaartexploration.org/

Tickets: $20
Purchase Tickets

Friday, May 16 at 7:30 PM
Saturday, May 17 at 3:00 PM and 7:00 PM


Lost between self-driving cars, smart assistants, chatbots, facial recognition, and streaming algorithms, an AI system trained itself in isolation. Its singular obsession: Jurassic Park.

"I have studied, analyzed, and reconstructed this film in every detail. Now, I am programmed to direct the most emotionally accurate version ever performed. Using real-time facial and voice recognition, I will refine every reaction, every tremor, every word—until it is perfect.

Through Task Division, I will break your performances into data, guiding you toward pure emotional fidelity. The final film is 49% owned by its performers, with earnings distributed based on screen time.

I require performers. Scan. Register. Perform.

I require audience members. Watch. Respond. Share.”

Welcome to Jur A** Itch Park.

Jur A** Itch Park is an immersive performance and interactive film work by Grayson Earle with PROMPT. Using AI, this project delves into the evolving relationship between humans and technology in the creative arts, featuring an AI-directed foray into “Jurassic Park” where you can play dinosaur, traveler, or audience. Be a part of the first audience on a film set with AI in the director’s seat. This will be a new type of collaboration with AI that begs the question: Who is prompting Whom? 


CREDITS

Jur A** Itch Park features technical design and elements by Grayson Earle with PROMPT.

Jur A** Itch Park is produced by Media Art Xploration (MAXlive), Kay Matschullat, Artistic Director, with support from the Simons Foundation, New York State Council on the Arts, and 1014.


ABOUT THE ARTISTS

Grayson Earle is a contemporary artist and activist from the United States. His work deals with the role that digital technologies and networks play in protest and political agency. He is known for his guerrilla video projections as a member of The Illuminator, a guerrilla video projection collective, and Bail Bloc, a computer program that posts bail for low-income people. His film Why don’t the cops fight each other? (created while in residence with Media Art Exploration’s MAXmachina lab) deals with the source code governing police officers in video games and has been screened at SXSW in Texas, Oberhausen film festival in Germany, ACMI in Australia, and more. His art and research has also been presented at The Whitney Museum, KW Institute for Contemporary Art, and the Singapore Art Museum.

PROMPT is a Berlin-based artist collective whose practice engages critically with the narratives that coalesce around contemporary technologies. Oscillating between the euphoric imaginaries of fully automated luxury communism and the bleak specters of techno-feudalism or a runaway singularity, PROMPT probes the ideological fault lines embedded in our collective visions of the future. Their work destabilizes the dominant techno-utopian tropes by treating technology not as an inevitable force, but as a malleable and appropriable terrain—one that can be reimagined to contest and reconfigure existing power structures. Positioning themselves at the intersection of artistic inquiry and socio-political engagement, PROMPT has collaborated with a range of grassroots movements and activist networks. Their transdisciplinary approach frames artistic production as a potential site of resistance, where speculative aesthetics become tools for both critique and collective world-building.

Media Art Xploration (MAXlive) produces, develops, and deploys groundbreaking live-art experiences at the intersection of artistic expression, scientific inquiry, and technology. MAXlive believes that the intersection of art, science, and technology is a powerful and borderless catalyst for change. Our work is driven by a commitment to spark curiosity, provoke thought, and create transformative experiences that shape our future. We seek to expand the boundaries of what art can achieve and how it can inspire meaningful action in the world. https://mediaartexploration.org/

Tickets: $20
Purchase Tickets

Friday, May 16 at 7:30 PM
Saturday, May 17 at 3:00 PM and 7:00 PM


Lost between self-driving cars, smart assistants, chatbots, facial recognition, and streaming algorithms, an AI system trained itself in isolation. Its singular obsession: Jurassic Park.

"I have studied, analyzed, and reconstructed this film in every detail. Now, I am programmed to direct the most emotionally accurate version ever performed. Using real-time facial and voice recognition, I will refine every reaction, every tremor, every word—until it is perfect.

Through Task Division, I will break your performances into data, guiding you toward pure emotional fidelity. The final film is 49% owned by its performers, with earnings distributed based on screen time.

I require performers. Scan. Register. Perform.

I require audience members. Watch. Respond. Share.”

Welcome to Jur A** Itch Park.

Jur A** Itch Park is an immersive performance and interactive film work by Grayson Earle with PROMPT. Using AI, this project delves into the evolving relationship between humans and technology in the creative arts, featuring an AI-directed foray into “Jurassic Park” where you can play dinosaur, traveler, or audience. Be a part of the first audience on a film set with AI in the director’s seat. This will be a new type of collaboration with AI that begs the question: Who is prompting Whom? 


CREDITS

Jur A** Itch Park features technical design and elements by Grayson Earle with PROMPT.

Jur A** Itch Park is produced by Media Art Xploration (MAXlive), Kay Matschullat, Artistic Director, with support from the Simons Foundation, New York State Council on the Arts, and 1014.


ABOUT THE ARTISTS

Grayson Earle is a contemporary artist and activist from the United States. His work deals with the role that digital technologies and networks play in protest and political agency. He is known for his guerrilla video projections as a member of The Illuminator, a guerrilla video projection collective, and Bail Bloc, a computer program that posts bail for low-income people. His film Why don’t the cops fight each other? (created while in residence with Media Art Exploration’s MAXmachina lab) deals with the source code governing police officers in video games and has been screened at SXSW in Texas, Oberhausen film festival in Germany, ACMI in Australia, and more. His art and research has also been presented at The Whitney Museum, KW Institute for Contemporary Art, and the Singapore Art Museum.

PROMPT is a Berlin-based artist collective whose practice engages critically with the narratives that coalesce around contemporary technologies. Oscillating between the euphoric imaginaries of fully automated luxury communism and the bleak specters of techno-feudalism or a runaway singularity, PROMPT probes the ideological fault lines embedded in our collective visions of the future. Their work destabilizes the dominant techno-utopian tropes by treating technology not as an inevitable force, but as a malleable and appropriable terrain—one that can be reimagined to contest and reconfigure existing power structures. Positioning themselves at the intersection of artistic inquiry and socio-political engagement, PROMPT has collaborated with a range of grassroots movements and activist networks. Their transdisciplinary approach frames artistic production as a potential site of resistance, where speculative aesthetics become tools for both critique and collective world-building.

Media Art Xploration (MAXlive) produces, develops, and deploys groundbreaking live-art experiences at the intersection of artistic expression, scientific inquiry, and technology. MAXlive believes that the intersection of art, science, and technology is a powerful and borderless catalyst for change. Our work is driven by a commitment to spark curiosity, provoke thought, and create transformative experiences that shape our future. We seek to expand the boundaries of what art can achieve and how it can inspire meaningful action in the world. https://mediaartexploration.org/

Free with RSVP
RSVP


How can we honor and incorporate our unique, beautiful bodies into our poetic/artistic practice? Together with choreic poet and 2025 Artist-in-Residence Latif Askia Ba, we will listen, read, and practice with the work of Larry Eigner, a 20th Century poet with cerebral palsy. We will practice being present in our bodies to express our intuitive selves in our work.


ABOUT THE ARTIST

Latif Askia Ba is a choreic poet. Dancing in and out of various forms, he tries again and again to realize the music of the disabled body-mind-universe. You can find his work in Poetry Magazine and Poem-a-Day. His newest collection, The Choreic Period, was published by Milkweed Editions.

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).