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

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


PROGRAM

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

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

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

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


ABOUT THE ARTISTS

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

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

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

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

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

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


ABOUT THE ARTIST

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

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


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


ABOUT THE ARTISTS

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

Free, RSVP required (limited audience)
RSVP

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


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

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


ABOUT THE ARTIST

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

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


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

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


PROGRAM

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

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

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

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


ABOUT THE ARTISTS

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

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

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

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


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Free, RSVP required (limited audience)
RSVP

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


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

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


ABOUT THE ARTIST

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

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

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

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

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

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ABOUT THE ARTISTS

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

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

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

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

Free, RSVP required (limited audience)
RSVP

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


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

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


ABOUT THE ARTIST

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

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


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


Genevieve Simon: THIS BUG IS GAY

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

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


Additional Spring 2024 Starr Reading Series programs:

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

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

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

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

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


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


Avi Amon: MOTHER/ROAD

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

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


Additional Spring 2024 Starr Reading Series programs:

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

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

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

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

Free, RSVP required (limited audience)
RSVP

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


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

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


ABOUT THE ARTIST

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

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


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

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

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

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

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


Additional Spring 2024 Starr Reading Series programs:

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

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

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

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

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


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


Aeon Andreas: GODSPUNK

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

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


Additional Spring 2024 Starr Reading Series programs:

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

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

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

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

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


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


Deneen Reynolds-Knott: WHILE WE'RE HERE

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

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


Additional Spring 2024 Starr Reading Series programs:

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

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

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

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

Free, RSVP required (limited audience)
RSVP

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


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

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


ABOUT THE ARTIST

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

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

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

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

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

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

View the Program

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


ABOUT THE ARTISTS

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

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

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

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

Free, RSVP required (limited audience)
RSVP

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


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

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


ABOUT THE ARTIST

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

Free, RSVP required (limited audience)
RSVP

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


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

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


ABOUT THE ARTIST

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

Free, RSVP required (limited audience)
RSVP

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


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

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


ABOUT THE ARTIST

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

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


Artist and guest curator Kenneth Tam invites work by Tallulah Haddon, Elin Kuo, and Anh Vo – artists whose curiosity and boldness have made an indelible impression on him in recent encounters. Tam is excited to bring these three artists in dialogue, and hopes their experiments will produce provocative frictions and unexpected entanglements.

In Tallulah Haddon’s Score 1: Tongue, a creature navigates their way around the space using only their tongue. What new and dangerous experiences will they encounter?

In Making a perfect rectangle, Elin Kuo invites the audience to contemplate the interplay of shapes and dimensions in both geographical and personal landscapes. As we unfold the map of the United States, Colorado stands out as one of the states neatly mapped in the form of a rectangle. In fact, the state itself is not perfectly in straight lines due to historical and geographic consideration. This design also suggests a pursuit of equilibrium and serenity in our spatial arrangements. Drawing parallels with Feng Shui, where the rectangular shape is embraced for its auspicious qualities, we reflect on the intentional shaping of our surroundings. Making a perfect rectangle unfolds as an exploration of scale, blending a work-in-progress short film, with a live origami demonstration.

Anh Vo’s introjective exhibition is a practice of making contact with others' haunted selves, giving them linguistic and bodily forms to be put on public display. Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic rituals of conjuring, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will? 

View the Program

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

About the Artists

Tallulah Haddon is a multidisciplinary artist from London, working in performance, installation and film. Currently Centre for Live Art Yorkshire’s Associate artist, this year they wrote, directed and starred in their first film I’m Asking You To Eat it. They are best known for their work in Channel 4’s Kiss Me First and Netflix’s Black Mirror. They were nominated for a British Independent Film Award for their performance in Justine. Their debut show Rituals in Romance about the complexities of a trans and queer relationship was commissioned for the internationally renowned SPILL festival. Tallulah has had work at Soho Theatre, Kampnagel and SXSW. Their video and sculptural work with Kasra Jalili as Mystical Femmes, has been shown in multiple exhibitions including Rebel Dykes. Recently their work Pulpa with sound artist Alina Maldonado was shown at El Sur Gallery in Mexico City. Alongside, their training as a fishmonger informs their practice.

As an illustrator, the concept of instant reaction holds a pivotal place in Elin Kuo’s methodology. Her drawings are often raw, an immediate response to her surroundings that demand attention. Yet, these reactions are not static; her performance pieces evolve these reactions layer by layer, inviting viewers to engage with them within each scale and materiality of internal and external landscapes, often including paper, projection, drawings, sound and body language.

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

Kenneth Tam (curator) is an artist based in Houston, TX and Queens, NY. Tam received his MFA in 2010, and has a B.F.A. from The Cooper Union. He works with video, sculpture, installation, movement, performance, and photography. Taking an interdisciplinary approach, he examines themes including the performance of masculinity, the transformative potential of ritual, and expressions of intimacy within groups. Tam often implicates the male body in his projects, using humor and pathos to reveal the performative and unstable nature of identity, and often creates situations that foreground tenderness and vulnerability within unlikely settings. Tam has had solo exhibitions at Commonwealth and Council, Los Angeles; Berkeley Art Museum and Pacific Film Archive (BAMPFA), Berkeley; Ballroom Marfa; Museum of Contemporary Art, Tucson; Institute of Contemporary Art, Los Angeles; Queens Museum; Madison Museum of Contemporary Art; The Kitchen, New York; Visual Arts Center, The University of Texas at Austin; Minneapolis Institute of Art; and MIT List Center for Visual Arts, Cambridge.

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


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


lily gonzales: I must belong somewhere

I must belong somewhere is a classroom presentation and archival practice for my childhood. A story that is true, I think mostly true. A queer collage that dissects identity formation, violence, and memory.

lily gonzales (they/them) is a writer from Texas, based in NYC. Their work has been supported by The John F. Kennedy Center, Shotgun Players, Crowded Fire Theater, Colt Coeur, and Latinx Playwrights Circle, among others. Currently, they are a resident with AlterTheater Ensemble in San Rafael, CA. They received a B.A from The University of Texas at Austin in Theater and Dance, and English.


Additional Fall 2023 Starr Reading Series programs:

Weds, December 6 at 7 P.M.
Nia Calloway: Earth is Not One of Your Lil Friends

Tues, December 12 at 7 P.M.
Michael Oluokun: Have You Ever Thought About…

Five additional writers – Avi Amon, Aeon Andreas, Deneen Reynolds-Knott, Utkarsh Rajawat, and Genevieve Simon – will share work as part of the Starr Reading Series in Spring 2024, also co-presented with The Bushwick Starr at CPR. More details to be announced.

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


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


Michael Oluokun: Have You Ever Thought About…

Comedian and Professor Emeritus in Bisexual Studies, Michael Oluokun, welcomes you to a comedic crash course in the portentous power of proliferous pondering. Come thru!

Michael Oluokun (any pronouns) is a writer, comedian, actor, and featherless biped who performs all around New York City.


Additional Fall 2023 Starr Reading Series programs:

Weds, December 6 at 7 P.M.
Nia Calloway: Earth is Not One of Your Lil Friends

Weds, December 13 at 7 P.M.
lily gonzales: I must belong somewhere


Five additional writers – Avi Amon, Aeon Andreas, Deneen Reynolds-Knott, Utkarsh Rajawat, and Genevieve Simon – will share work as part of the Starr Reading Series in Spring 2024, also co-presented with The Bushwick Starr at CPR. More details to be announced.

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


“Mammy May I…?” is an ongoing contemplation of “Black Womanhood” as a reaction to the disillusionment of “Black Girlhood.” Exploring sensuality, play, rage, and release, this work by 2023 Artist-in-Residence Oskar Sinclair undertakes a simple query: to whom does your body belong, Black girl?

My body. A canvas of ebony hues. An emblem of Africanity and feminine strength. Carries me places where power, masculinity, and race entwine. My form–thickset with broad shoulders and big back, mammoth arms and stalwart thighs–is a tool → a crucible → forever dangerous when not useful. I know this. Now….

Before, without context of its lineage, my body was simply bad; the reason why, aged six, men began the cat-calling, and, aged nine, deemed me “too fast;” the reason popular girls kept me as bait for their wanton boy toys. I knew I was bait. I also knew I wasn’t very popular and, coming off the African Booty Scratcher train, I played their game, acted as pawn, found sense and made cents in my body’s usability. Promiscuous Jezebel, overlooked Mammy. Spectacle all the same. 

Do not pity me. I’m grown. Now.

View the Program

On November 18, Oskar Sinclair organizes a series of workshops – I’ll Be At Home….Maybe With You – exploring the work’s themes of sensuality, play, rage, and release, facilitated by Star Mitchell, Ash Rucker, and Osamudiamen Aiworo.

Oskar Sinclair (Vu/They) is a tough yet syrupy genderqueer femmebo(i)rg. Using Vu's body as a site of conversation, Oskar’s work explores, interrogates, and provokes notions of power, négritude, body politics, sex, queerness, desire, and outsidership. So here Vu is. Puckish. Malleable. Aspiring to wholesomeness. Amusing in all the ways you’re grateful for. Catch Vu running around NYC existing in multidimensional consciousness (because it be like that sometimes).

Free with RSVP
Tickets

Co-Presented with The Bushwick Starr


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


Nia Calloway: Earth is Not One of Your Lil Friends

Earth is Not One of Your Lil Friends is a reclamation of body, space, and pleasure told from an eco-feminist point of view by way of poetry, music, soundscapes, and dance.

Nia Calloway (she/her) is a multi-disciplinary artist and astrologer who traverses the worlds of theater, poetry, music, dance, and the healing arts. Through the combination of written word, sound experimentation, and explorative movement, she aims to create spaces of healing and introspection for her audience. Driven by the desire to relate the natural world and the cosmos to our bodies, Nia’s art serves to heal and reorient our collective stories around female bodies, QBIPOC bodies, and especially Black femme bodies. 

Additional Fall 2023 Starr Reading Series programs:

Tues, December 12 at 7 P.M.
Michael Oluokun: Have You Ever Thought About…

Weds, December 13 at 7 P.M.
lily gonzales: I must belong somewhere


Five additional writers – Avi Amon, Aeon Andreas, Deneen Reynolds-Knott, Utkarsh Rajawat, and Genevieve Simon – will share work as part of the Starr Reading Series in Spring 2024, also co-presented with The Bushwick Starr at CPR. More details to be announced.

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


Friday, December 1 at 7:00 P.M.
Saturday, December 2 at 7:00 P.M.


CPR’s long-running Fall Movement program is an opportunity for artists to present new, fully-produced work in dance, performance, and time-based art in a shared program, curated by an independent panel of artists through an open call. Artists are encouraged to submit work with experimental approaches to content, form, and aesthetic, and which embrace risk-taking and the unexpected.

Five artists and collaborations working across and between live art disciplines were selected to present their work: Juli Brandano, ALEXA GRÆ and Stephanie Acosta, Dominica Greene, Nazareth Hassan / Paratheater, and Cherrie Yu.

The 2023 program was curated by a selection panel comprised of artists Lauren Bakst, Doménica García, and Jordan Demetrius Lloyd.

View the Program

PROGRAM

Juli Brandano: Wet Material (for CPR)
Wet Material (for CPR) is a dance made for CPR's Large Studio and emerged in the wake of choreographic research done on site at Rockaway Beach. Its dancers move across multiple timescales and rhythms, devised from studying tide charts, work/break schedules, Éliane Radigue's score (Épure), the sculptural tradition of wet drapery, and several other musical and embodied rhythmic influences. Developed in collaboration with dancers Julia Antinozzi, Leah Fournier, and Amelia Heintzelman with sound by Éliane Radigue.

ALEXA GRÆ and Stephanie Acosta: COLLUSIONS OF GRANDEUR – transfiguration
COLLUSIONS OF GRANDEUR - transfiguration is an electronic opera in the form of dazzling soliloquy, performed by ALEXA GRÆ and directed by Stephanie Acosta. The work features new soundscapes, movement, poetry, and rituals sparked out of necessity for self preservation, with source material assembled through snapshots from a quarantine and uprising that brought intelligences rooted in blackness, trans-queer identity, neurodiversity, and magic to the fore. Drawing from the traditions of operatic madness, cosmic spirituality, queer raves, solitude, the body intellect, and the building of self, as artistic practice, vocalized joy poems bend genre and arias of longing serve as musical anchors. Paired with house music they conjure meditative states and access portals to the dream realm, arranging these moments into many revolutions.

Dominica Greene: no training required
no training required is an improvisational performance constructed around the theory that every living body is a body that is already dancing. The work is entirely dependent upon the audience – every attendee will receive a printed list of tasks which Dominica Greene has predetermined and consented to, ranging from directives like “spin” and “bend backwards” to “do a duet” and “pee into a bucket.” After a timer and recording device are set, Greene will begin to improvise while the audience can call out any of the provided directives. In a second round, Greene will re-perform the work from the recording, and the choreographers (audience) may make alterations to the first draft in real time. After a final review of the work, Greene will perform the finished choreography to a piece of music voted on by the audience.

Nazareth Hassan / Paratheater: Slow Mania 009
Slow Mania 009 explores the architecture of love, its disillusionment, idle bodies, and coonery. Created in collaboration with filmmaker Alexander Mejía.

Cherrie Yu: Verb List
Verb List started as a found-footage project that collects movements from Chinese and Chinese-diasporic moving image history. The title references the American sculptor Richard Serra's 1967 drawing, and the work borrows from Serra’s structure of words and actions. Treating the history of moving image as raw material, Cherrie Yu creates a movement archive from Chinese and diasporic communities, and explores cinematic history as collective memory. The performance-lecture will weave the essay-film, personal writing, and live dance, informed by Yu’s training as a dancer working with postmodern archives and choreographers, as well as from their migrant experience as a Chinese artist living in the US. The project asks: what are the ontological implications to be surrounded by movements and actions of people who look like oneself?


ABOUT THE ARTISTS

Juli Brandano is a dancer and choreographer based in Brooklyn, NY. She has collaborated as a dancer with Phoebe Berglund, Jessica Cook, Ayano Elson, Amelia Heintzelman, Leah Fournier, Julia Antinozzi, and Cally Spooner, among others. She was a 2020 Lighthouse Works Fellow and a 2022 Dance Research Fellow at the New York Public Library’s Jerome Robbins Dance Division during the theme of Dance and Ecology. Her choreographic work has been shown previously at Performance Mix Festival, fouroneone, Movement Research at Judson Church, the Westbeth Courtyard, Pageant, and BAX.

ALEXA GRÆ is an interdisciplinary artist focusing on how art informs identities, socialization habits, self-expression, and the ability to create – creating genre-defying performances that incorporate theatrical personas and experimental storytelling. In January 2023 they performed at Out-FRONT! Fest with Pioneers Go East Collective, and shared a work-in-progress of COLLUSIONS OF GRANDEUR - transfiguration. As a sound and performance artist they have worked with Stephanie Acosta, Isaac Pool, Jessie Young, and Same As Sister. ALEXA released their first studio song cycle, SEEN, accompanied by Sur La Nuit, an operatic/electronic music video by Matthew Ozawa & Jon Wes that premiered at The Art Institute of Chicago with Open Television; and they composed the score for the short film Searching for Isabelle  by Stephanie Jeter. They have performed with Haymarket Opera Company, Madison Opera, and Elements Contemporary Ballet, and have been a featured soloist/artist with Chicago Arts Orchestra, The Savannah Philharmonic, Northwestern University Orchestra, The Orchestra of New Spain, Texas Tech University Symphony Orchestra, The Violet Hour, The Fly Honey Show, and Big Spring Symphony.

Stephanie Acosta is an interdisciplinary artist, writer, curator and organizer who places the materiality of the ephemeral at the center of her practice, questioning meaning-making and manufactured limitations. Blending performance with practice-based and studio research and engaging ensembles in facilitated processes, they create fleeting performance works that examine perception in shared experiences. Acosta has presented her works with and for Museum of Art and Design, MCA Chicago, The Chocolate Factory, Knockdown Center, Current Sessions, Miami Performance International Festival, IN>Time Symposium, Abrons Arts Center, the Chicago Park District, the Performance Philosophy conference, and AUNTS. Acosta has collaborated with artist Miguel Gutierrez on multiple projects, and their collaborative curatorial experiment with Alexis Wilkinson, Sunday Service, ran for six seasons at Knockdown Center. Recently, Acosta opened Good Day God Damn, a solo exhibition curated by Alexis Wilkinson at The Chocolate Factory Theater, and a talk show, Apocalypse Talks, in which they spoke with artists on themes of multi-crisis making and radical hope found in art practices.

Dominica Greene is a bi-racial Black woman who cherishes and channels her Caribbean heritage and Queerness into an art-based existence. A dance artist, she has collaborated and performed nationally and internationally with many notable choreographers and companies. Based on the unceded lands of the Munsee Lenape people, Greene creates conceptual, body-based art rooted in her belief that dance is not something to be learned, but an innate entity that we all have access to and are perpetually engaging with. Weaving her core research practices of duration, somatics, raving, and ancestral channeling, her work aims to reflect nature, human and otherwise, as a way of highlighting humanity and the stark sameness and differences – and sameness in the differences – within all of us.

Nazareth Hassan / Paratheater is an interdisciplinary artist working in performance, writing, music, video, and photography. Recent performance works include Untitled (1-5) at The Shed (text published by 3 Hole Press), VANTABLACK at Theatretreffen Stuckemarkt in Berlin, and Memory A at Museo Universitario del Arte Contemporáneo in Mexico City. They have released 4 singles, available on all platforms; and their first collection of poetry and photography, Slow Mania, will be published in 2025 by Futurepoem. They are a 2023-25 Jerome Hill Artist Fellow.

Alexander Mejía (Nazareth Hassan / Paratheater collaborator) is a writer, director and interdisciplinary artist based in Brooklyn. Their work has premiered at BAMCinematek, New World Symphony as part of Miami Art Basel, NewFest, Inside Out Toronto and Schauspiel Dortmund. Mejía currently works as the video producer at Pioneer Works. 

Cherrie Yu is an artist born in Xi'an, China, currently living in the US. She works in choreography, moving image, writing, and installation. She has been an artist in residence at ACRE, McColl Center, Yaddo, Monson Art, Kala Art Institute, and Sharpe Walentas Studio Program. Her works have been exhibited at Contemporary Calgary Museum, the Museum of Contemporary Photography, Mint Museum, Links Hall, Wassaic Project, Roman Susan Gallery, PAGEANT, and Judson Memorial Church. 


ABOUT THE PANELISTS

Lauren Bakst is an artist, writer, and scholar working through experimental performance. Lauren organizes and curates The School for Temporary Liveness, a para-site for collective study and experiments in performance, practice, and pedagogy. She is a PhD candidate in English at the University of Pennsylvania.

Doménica García is an Ecuadorian multidisciplinary artist based in New York. Her work delves into a process of introspection, exploring the personal and discovering the universal. With the use of a hyperbolic language and the juxtaposition of the radical with the ordinary, she gives greater relevance to the day-to-day experience. García’s multimedia approach, particularly merging performance and digital art, allows her to manipulate the perception of reality, facilitating a fantastic and surreal experience within the rational world. García’s work has been shown in the Atlanta Film Festival; San Diego Latino Film Festival; Queens Museum, New York; Museum of the Moving Image, New York; Institute of Contemporary Art Boston; Centro de Arte Contemporáneo de Quito, Ecuador; Microscope Gallery, New York; CPR – Center for Performance Research, New York; and Granoff Center for the Creative Arts, Providence, RI. García earned a BFA from the School of Visual Arts and is currently pursuing an MFA at Columbia University.

Jordan Demetrius Lloyd is a Bessie-nominated choreographer and performer based in Brooklyn, NY. He graduated from The College at Brockport and grew up in Albany, NY. He has collaborated with and performed for Beth Gill, Netta Yerushalmy, Tere O’Connor, Monica Bill Barnes, David Dorfman Dance, and more. His work has been produced by Danspace Project, New York Live Arts, ISSUE Project Room, BRIC, CPR – Center for Performance Research, and more. His teaching practice has brought him to the American Dance Festival, University of the Arts, Rutgers University, and Sarah Lawrence College. He was recently listed on Dance Magazine's 2023 '25 to Watch' list. He loves chocolate, sunsets, and his favorite color is green.

Important note about visiting CPR:
CPR requires all visitors, artists, and staff to provide documentation of full vaccination against Covid-19 as well as a vaccine booster (if eligible), along with a photo ID, to enter CPR. For more information about booster eligibility, please visit the CDC's website. Masks must also be worn at all times inside CPR.

Tickets: $0-$25, pay what you can
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Friday, December 1 at 7:00 P.M.
Saturday, December 2 at 7:00 P.M.


CPR’s long-running Fall Movement program is an opportunity for artists to present new, fully-produced work in dance, performance, and time-based art in a shared program, curated by an independent panel of artists through an open call. Artists are encouraged to submit work with experimental approaches to content, form, and aesthetic, and which embrace risk-taking and the unexpected.

Five artists and collaborations working across and between live art disciplines were selected to present their work: Juli Brandano, ALEXA GRÆ and Stephanie Acosta, Dominica Greene, Nazareth Hassan / Paratheater, and Cherrie Yu.

The 2023 program was curated by a selection panel comprised of artists Lauren Bakst, Doménica García, and Jordan Demetrius Lloyd.

View the Program

PROGRAM

Juli Brandano: Wet Material (for CPR)
Wet Material (for CPR) is a dance made for CPR's Large Studio and emerged in the wake of choreographic research done on site at Rockaway Beach. Its dancers move across multiple timescales and rhythms, devised from studying tide charts, work/break schedules, Éliane Radigue's score (Épure), the sculptural tradition of wet drapery, and several other musical and embodied rhythmic influences. Developed in collaboration with dancers Julia Antinozzi, Leah Fournier, and Amelia Heintzelman with sound by Éliane Radigue.

ALEXA GRÆ and Stephanie Acosta: COLLUSIONS OF GRANDEUR – transfiguration
COLLUSIONS OF GRANDEUR - transfiguration is an electronic opera in the form of dazzling soliloquy, performed by ALEXA GRÆ and directed by Stephanie Acosta. The work features new soundscapes, movement, poetry, and rituals sparked out of necessity for self preservation, with source material assembled through snapshots from a quarantine and uprising that brought intelligences rooted in blackness, trans-queer identity, neurodiversity, and magic to the fore. Drawing from the traditions of operatic madness, cosmic spirituality, queer raves, solitude, the body intellect, and the building of self, as artistic practice, vocalized joy poems bend genre and arias of longing serve as musical anchors. Paired with house music they conjure meditative states and access portals to the dream realm, arranging these moments into many revolutions.

Dominica Greene: no training required
no training required is an improvisational performance constructed around the theory that every living body is a body that is already dancing. The work is entirely dependent upon the audience – every attendee will receive a printed list of tasks which Dominica Greene has predetermined and consented to, ranging from directives like “spin” and “bend backwards” to “do a duet” and “pee into a bucket.” After a timer and recording device are set, Greene will begin to improvise while the audience can call out any of the provided directives. In a second round, Greene will re-perform the work from the recording, and the choreographers (audience) may make alterations to the first draft in real time. After a final review of the work, Greene will perform the finished choreography to a piece of music voted on by the audience.

Nazareth Hassan / Paratheater: Slow Mania 009
Slow Mania 009 explores the architecture of love, its disillusionment, idle bodies, and coonery. Created in collaboration with filmmaker Alexander Mejía.

Cherrie Yu: Verb List
Verb List started as a found-footage project that collects movements from Chinese and Chinese-diasporic moving image history. The title references the American sculptor Richard Serra's 1967 drawing, and the work borrows from Serra’s structure of words and actions. Treating the history of moving image as raw material, Cherrie Yu creates a movement archive from Chinese and diasporic communities, and explores cinematic history as collective memory. The performance-lecture will weave the essay-film, personal writing, and live dance, informed by Yu’s training as a dancer working with postmodern archives and choreographers, as well as from their migrant experience as a Chinese artist living in the US. The project asks: what are the ontological implications to be surrounded by movements and actions of people who look like oneself?


ABOUT THE ARTISTS

Juli Brandano is a dancer and choreographer based in Brooklyn. She has collaborated as a dancer with Phoebe Berglund, Jessica Cook, Ayano Elson, Amelia Heintzelman, Leah Fournier, Julia Antinozzi, and Cally Spooner, among others. She was a 2020 Lighthouse Works Fellow and a 2022 Dance Research Fellow at the New York Public Library’s Jerome Robbins Dance Division during the theme of Dance and Ecology. Her choreographic work has been shown previously at Performance Mix Festival, fouroneone, Movement Research at Judson Church, the Westbeth Courtyard, Pageant, and BAX.

ALEXA GRÆ is an interdisciplinary artist focusing on how art informs identities, socialization habits, self-expression, and the ability to create – creating genre-defying performances that incorporate theatrical personas and experimental storytelling. In January 2023 they performed at Out-FRONT! Fest with Pioneers Go East Collective, and shared a work-in-progress of COLLUSIONS OF GRANDEUR - transfiguration. As a sound and performance artist they have worked with Stephanie Acosta, Isaac Pool, Jessie Young, and Same As Sister. ALEXA released their first studio song cycle, SEEN, accompanied by Sur La Nuit, an operatic/electronic music video by Matthew Ozawa & Jon Wes that premiered at The Art Institute of Chicago with Open Television; and they composed the score for the short film Searching for Isabelle  by Stephanie Jeter. They have performed with Haymarket Opera Company, Madison Opera, and Elements Contemporary Ballet, and have been a featured soloist/artist with Chicago Arts Orchestra, The Savannah Philharmonic, Northwestern University Orchestra, The Orchestra of New Spain, Texas Tech University Symphony Orchestra, The Violet Hour, The Fly Honey Show, and Big Spring Symphony.

Stephanie Acosta is an interdisciplinary artist, writer, curator and organizer who places the materiality of the ephemeral at the center of her practice, questioning meaning-making and manufactured limitations. Blending performance with practice-based and studio research and engaging ensembles in facilitated processes, they create fleeting performance works that examine perception in shared experiences. Acosta has presented her works with and for Museum of Art and Design, MCA Chicago, The Chocolate Factory, Knockdown Center, Current Sessions, Miami Performance International Festival, IN>Time Symposium, Abrons Arts Center, the Chicago Park District, the Performance Philosophy conference, and AUNTS. Acosta has collaborated with artist Miguel Gutierrez on multiple projects, and their collaborative curatorial experiment with Alexis Wilkinson, Sunday Service, ran for six seasons at Knockdown Center. Recently, Acosta opened Good Day God Damn, a solo exhibition curated by Alexis Wilkinson at The Chocolate Factory Theater, and a talk show, Apocalypse Talks, in which they spoke with artists on themes of multi-crisis making and radical hope found in art practices.

Dominica Greene is a bi-racial Black woman who cherishes and channels her Caribbean heritage and Queerness into an art-based existence. A dance artist, she has collaborated and performed nationally and internationally with many notable choreographers and companies. Based on the unceded lands of the Munsee Lenape people, Greene creates conceptual, body-based art rooted in her belief that dance is not something to be learned, but an innate entity that we all have access to and are perpetually engaging with. Weaving her core research practices of duration, somatics, raving, and ancestral channeling, her work aims to reflect nature, human and otherwise, as a way of highlighting humanity and the stark sameness and differences – and sameness in the differences – within all of us.

Nazareth Hassan / Paratheater is an interdisciplinary artist working in performance, writing, music, video, and photography. Recent performance works include Untitled (1-5) at The Shed (text published by 3 Hole Press), VANTABLACK at Theatretreffen Stuckemarkt in Berlin, and Memory A at Museo Universitario del Arte Contemporáneo in Mexico City. They have released 4 singles, available on all platforms; and their first collection of poetry and photography, Slow Mania, will be published in 2025 by Futurepoem. They are a 2023-25 Jerome Hill Artist Fellow.

Alexander Mejía (Nazareth Hassan / Paratheater collaborator) is a writer, director and interdisciplinary artist based in Brooklyn. Their work has premiered at BAMCinematek, New World Symphony as part of Miami Art Basel, NewFest, Inside Out Toronto and Schauspiel Dortmund. Mejía currently works as the video producer at Pioneer Works. 

Cherrie Yu is an artist born in Xi'an, China, currently living in the US. She works in choreography, moving image, writing, and installation. She has been an artist in residence at ACRE, McColl Center, Yaddo, Monson Art, Kala Art Institute, and Sharpe Walentas Studio Program. Her works have been exhibited at Contemporary Calgary Museum, the Museum of Contemporary Photography, Mint Museum, Links Hall, Wassaic Project, Roman Susan Gallery, PAGEANT, and Judson Memorial Church. 


ABOUT THE PANELISTS

Lauren Bakst is an artist, writer, and scholar working through experimental performance. Lauren organizes and curates The School for Temporary Liveness, a para-site for collective study and experiments in performance, practice, and pedagogy. She is a PhD candidate in English at the University of Pennsylvania.

Doménica García is an Ecuadorian multidisciplinary artist based in New York. Her work delves into a process of introspection, exploring the personal and discovering the universal. With the use of a hyperbolic language and the juxtaposition of the radical with the ordinary, she gives greater relevance to the day-to-day experience. García’s multimedia approach, particularly merging performance and digital art, allows her to manipulate the perception of reality, facilitating a fantastic and surreal experience within the rational world. García’s work has been shown in the Atlanta Film Festival; San Diego Latino Film Festival; Queens Museum, New York; Museum of the Moving Image, New York; Institute of Contemporary Art Boston; Centro de Arte Contemporáneo de Quito, Ecuador; Microscope Gallery, New York; CPR – Center for Performance Research, New York; and Granoff Center for the Creative Arts, Providence, RI. García earned a BFA from the School of Visual Arts and is currently pursuing an MFA at Columbia University.

Jordan Demetrius Lloyd is a Bessie-nominated choreographer and performer based in Brooklyn, NY. He graduated from The College at Brockport and grew up in Albany, NY. He has collaborated with and performed for Beth Gill, Netta Yerushalmy, Tere O’Connor, Monica Bill Barnes, David Dorfman Dance, and more. His work has been produced by Danspace Project, New York Live Arts, ISSUE Project Room, BRIC, CPR – Center for Performance Research, and more. His teaching practice has brought him to the American Dance Festival, University of the Arts, Rutgers University, and Sarah Lawrence College. He was recently listed on Dance Magazine's 2023 '25 to Watch' list. He loves chocolate, sunsets, and his favorite color is green.

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Organized by 2023 Artist-in-Residence Oskar Sinclair in connection with their OPEN AiR program “Mammy May I…?”: A Paroxysm Back Home on December 10, this afternoon of workshops examines the body as a site of conversation. Three artists will lead participants through movement-based explorations of Sensuality (Star Mitchell), Rage + Release (Ash Rucker), and Play! (Osamudiamen Aiworo).

The body is a site of conversation. It embodies the outcomes of these dialogues. The body is also our first home. So when we move through the world experiencing these conversations without opportunities for respite and recovery, we become strangers in our homes (cue Tamia). We grow habituated to sidestepping it. We hate it. Apologize for it. Move impetuously. Things fall apart. Foreclose. Sometimes we lose our homes. And pry into the homes of others. Measuring our worth against theirs. Insisting on receiving our own apologies. A hurting world persists. What wonders could unfold if we changed our relationship with our bodies? We deserve spaces to find out. This is that. Invite every whisper, every tempest, every tale. Invite desire. Misfortune. Outrage. And heal. Release ____. Find ____. 

What happened to you? Come work it out. 


Workshop Schedule
Participate in as many workshops as you desire throughout the afternoon. Each workshop is approximately 1 hour. There will be small breaks between workshops to recover and check in new participants.

12:00 PM | Making Love With YOU with Star Mitchell
Brought to life with inspiration from Minnie Ripperton’s Adventures In Paradise, this workshop aims to introduce a sweet approach to the practice of sensual movement. Guided through an intimate movement meditation, participants are invited to refocus the relationship they currently have with their bodies using queries as lanterns to guide this exploration. Attendees will also have the opportunity to enhance their experiences of sensuality and self adoration by curating a three-song soundtrack that resonates with their inner desires as they create a moving love letter to their bodies. The workshop will culminate in the initiation of a practical moving routine to help navigate an intentional way of loving their bodies. Throughout the workshop, individuals are encouraged to engage the following questions: What excites your body? What makes you feel most confident? If your body had a rhythm what would it sound like? How would you move to it? How do you honor your body?

1:15 PM | You’ll Appear When The Flames Go Out with Ash Rucker 
There’s an undeniably visceral power in shaking out the pains we trap in our bodies. To shake off those burdens is to grant ourselves the liberty to rediscover the emancipation of our very souls. Join Ash Rucker, movement educator, and founder of TherapART, for a workshop to come back home. To ourselves and bodies. In this immersive experience, we will begin to explore the hidden corners of our inner worlds, creating space for growth and expansion in the outer. Together, we will move through the emotion of rage, tracing the depths of our beings to find where this feeling resides, ultimately paving way for freedom and soulful liberation. This workshop invites you, through a synergy of movement, meditation, and art therapy, to embark on a deep excavation, unearthing and shedding layers that hinder your path to healing and self-discovery.

2:30 PM | The Party is the Court and I Bring the Ball! with Osamudiamen Aiworo
“The party is the court and I bring the ball!” Wherever music plays, a party emerges. And when there’s a party, there’s a dancer being invited to come alive. The goal of this workshop is to impart the significance of embracing enjoyment while dancing with the self and with others. 


About the Artists

Oskar Sinclair (Vu/They) is a tough yet syrupy genderqueer femmebo(i)rg. Using Vu's body as a site of conversation, Oskar’s work explores, interrogates, and provokes notions of power, négritude, body politics, sex, queerness, desire, and outsidership. So here Vu is. Puckish. Malleable. Aspiring to wholesomeness. Amusing in all the ways you’re grateful for. Catch Vu running around NYC existing in multidimensional consciousness (because it be like that sometimes).

Star Mitchell (They/Them/he/she) is a Celestial luminescence of love. A Brooklyn-based artist creating with all mediums that excite them, they aim to awaken and “Move with love as the intention and Rebirth as the Score.” Star uses movement and multimedia as a further expression of our inner being. Giving voice back to the inner child that lives within. While walking in light of their Highest self. Star has taught movement as a form of interpersonal communication and reworking narratives for Arts and Literacy programs throughout Manhattan, Staten Island, and Brooklyn. They have Choreographed & Performed in collaboration with EMERGENYC's Residency Program with Brooklyn Arts Exchange 2023, CPR – Center for Performance Research as a 2022 Artist-in-Residence, The Shed’s Open Call as a guest choreographer for Ana María Agüero Jahannes Field Day in 2021, and is a summer 2021 City Artist Corps Grant recipient. A former fellow of Nana Chinara’s Healing The Black Body Fellowship 2019-220, and Caitlin Mahon’s Mayhem Dance Company while pursuing their BFA in Dance at SUNY The College at Brockport, 2018. 

Ashley (Ash) Rucker (She/Her) founded TherapART to promote the positive effects of art therapy after struggling with the anguish of a sibling suffering from drug addiction and incarceration. A gifted dancer and passionate creative, she formed her unique method using meditation, dynamic movement,, and creative play as an alternative to traditional therapy. The results and breakthroughs were incomparable. Doubling down on how effective it was on adults, she’s been paying it forward from the beginning. Focusing on youths significantly effected by the criminal justice system, helping them to work through the release of emotional barriers that limit their future lives. A trained yoga teacher and graduate of the Institute of Transformative Mentoring (ITM) at The New School, she has facilitated TherapART workshops and ceremonies both nationally and internationally. Ashley has called New York home since 2011.

Osamudiamen Aiworo (He/Him) normally goes by Osa or Mudia, and is a student pursuing Finance with a goal of creating my his Research Firm. His current hobbies include Fashion Design, Programming (Game Development & Web Development), and Groove. He doesn’t normally classify himself as a Dancer, but as a Groovist, due to the fact that he just likes to have a good time when he goes to an event where music is present. However, for the past 3 years since Aiworo discovered Amapiano, he has been developing his skills in this dance style, without a teacher. Being that there are no South Africans teaching Amapiano in NY, he has still been able to learn on his own. With Groove and Dance, Aiworo’s goal is to learn as much as possible and one day go to Johannesburg, SA to further his knowledge on the culture and dance style of Amapiano.

*** This program was originally scheduled for Thurs, October 26 at 7pm, but has been rescheduled due to COVID-19.


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In addition to your ticket, or if you are unable to attend the event, please consider making a tax-deductible donation to Psychic Wormhole between $25-$1,000 (or more!) to support the work of Psychic Wormhole. 

CPR presents a special evening with Psychic Wormhole – the creative partnership of Stacy Lynn Smith and 2023 Artist-in-Residence Alex Romania. The evening will feature an invited work-in-progress screening of Psychic Wormhole’s film, RECKONING, a conversation with the film’s cast and co-creators, a performance by Speaker Music aka DeForrest Brown, Jr., and celebration.

The gathering also serves as the launch of Psychic Wormhole’s fundraising campaign, as the duo works towards the film’s premiere in 2024/2025, with proceeds from the event supporting the project.

In RECKONING, co-created by Smith and Romania, we journey through Smith’s abstract memoir, featuring an incredible intergenerational cast including the legendary Charles Dennis and rising phenom Nia Joseph-Donnelly. Through poetic visual storytelling in stunning locations across New York and New England, the film excavates Smith’s experiences of trauma and somatic memory as a means to reclaim embodiment.

RECKONING
     
Fragments of the Self journey through the

curvatures of time, holding space for

each Other as They mine shame,

extending lifelines to the Exiles.

Out in the swamps, strange bodied flares

give way to undoing visions. 

Reckoning with trauma is a full time job. 

View the Program

Psychic Wormhole (Stacy Lynn Smith and Alex Romania) embraces a multidisciplinary, collaborative approach to filmmaking informed by dance forms – improvisation, somatics and butoh – melded with experimental visual design and object creation filtered through genres of Horror, Afro-futurism and Arthouse Cinema. 

Stacy Lynn Smith is a neurodivergent, mixed race/Black performing artist, choreographer, director and Green Circle Keeper at Hidden Water (by and for those affected by childhood sexual abuse (CSA)), whose fifteen-year professional practice incorporates a lifetime of diverse movement training; especially synthesizing various lineages of improvisational forms, somatics, experimental theater and butoh. Fiercely dedicated to collaboration, Smith creates, devises, improvises and performs across disciplines and genres with an array of talented artists including: DeForrest Brown Jr., Anna Homler, Karen Bernard, Thaddeus O’Neil, Rakia Seaborn, Vangeline Theater (2008-2017), Michael Freeman (2010-2016), Saints of an Unnamed Country, Salome Asega, GENG, Bradley Bailey, Donna Costello, Michele Beck, Jasmine Hearn, thinkdance, mayfield brooks, Kathy Westwater, Josephine Decker, Emily Johnson, Peter Born, Okwui Okpokwasili and more. Member of jill sigman’s artist/activist cohort, Body Politic. Selected by Eva Yaa Asantewaa as part of the curatorial board for Black Womxn Summit. Smith is a 2022-24 Movement Research Artist-in-Residence.

Alex Romania is a multidisciplinary filmmaker, performing artist, and improviser. A 2023 CPR Artist-in-Residence, Romania has also held residencies with MacDowell, Djerassi, Movement Research, Old Furnace, Tofte Lake Center, Chez Bushwick, and Brooklyn Arts Exchange. Romania’s upcoming projects include Face Eaters premiering at the Chocolate Factory Theater in May 2024, (co-directorship of) the experimental documentary Patch the Sky with Five Colored Stones conceived by choreographer Daria Faïn, a short film with Daniela Fabrizi and the Re Hecho community in the LES, and the film The Philosophy of Whatever featuring their father Arthur Romania. In addition to creating original work which has been presented internationally at spaces such as Grace Exhibition Space, Abrons Arts Center, Encuentro, Casa Viva, UV Estudios, and Sub Rosa Space, Romania has performed in works by Kathy Westwater since 2013, has been featured in the work of Simone Forti, Éva Mag, Eddie Peake, Andy de Groat, Catherine Galasso, and danced early on with George Russell and De Facto Dance who extended practices of the improvisational choreographer Richard Bull. Romania has had several designs featured within the works of Antonio Ramos, and has worked in various filmmaking roles with Marin Media Labs, TAAMAS / Sarah Riggs, Trixie Films / Therese Shechter, Christopher “Unpezverde” Nuñez, Martita Abril, and Sarah White-Ayòn. Romania received a B.F.A. from Tisch School of the Arts in 2013.

DeForrest Brown, Jr. is an Alabama-raised, Ex-American rhythmanalyst, writer, and curator. As Speaker Music, he has released three albums on Planet Mu; 'Of Desire, Longing' (2019), 'Black Nationalist Sonic Weaponry' (2020) and 'Techxodus' (2023). His written work explores the links between the Black experience in industrialized labor systems and Black innovation in electronic music. Brown's debut book 'Assembling a Black Counter Culture' was released on Primary Information in 2022.

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Embark on a self-guided journey through a digital archive of images, text, and video mined and collected by 2023 Artist-in-Residence Eleanor Kipping for the development of their solo multimedia performance, [transmission]. Their work integrates the notion of “virus as other”, at the intersection of public health, politics, and stigma, and through an exploration of Western media, political speech, public persuasion, and propaganda.

For this virtual program, a desktop or laptop computer is highly recommended, as participants will access and manipulate these materials in real time.


Eleanor Kipping (she/they) is a Black Queer Brooklyn-based Artist, Educator and Arts Administrator, originally from Maine. Her multidisciplinary practice lies at the intersection of performance, installation, and lens-based media and image making. Her work explores the othering of viruses at the intersection of race, gender, class, and place with specific concentration on HIV. Through the examination and deconstruction of historical and contemporary narratives, she is interested in the public, private, and civic negotiations of race, gender, in addition to the effect and practice of violence and surveillance. She has been awarded residencies at the Lunder Institute for American Art, Skowhegan School of Painting and Sculpture, School of Visual Arts, and Lower Manhattan Cultural Council. She is currently a 2023 CPR – Center for Performance Research Artist-in-Residence. Her work has been exhibited at The Shed, Portland Museum of Art, Center for Maine Contemporary Art, Yellow Fish Durational Performance Festival, and more. She is a Media Instructor at BRIC, the Marketing Manager at Hi-ARTS, and the Co-Founder of Camp El, a Maine-based artist retreat.

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the zebra goes wild where the sidewalk ends is a happening named after the Henry Dumas poem, and gleans inspiration from Dumas’ body of work in relation to the ongoing dispossession of black, brown, and queer bodies. Through an accumulation of archive, dance, video, sound, and sculpture, 2023 Artist-in-Residence Raymond Pinto transgresses the spectacle of artistic production, revealing fissures between analog and digital, leisure and loiter, knowledge and discovery, ethos and emergence. Staged as a series of encounters using various media, Pinto uses this opportunity to explore a new body of work which reclaims abjection as refusal. 


Raymond Pinto (he/they) was born in Bridgeport, CT. He studied dance and graduated from The Juilliard School in 2013. He was awarded a Princess Grace Foundation Award in 2012 for his achievement as a dancer and was a Young Arts Award winner in Modern Dance in 2009. He has worked with internationally touring dance companies, notable choreographers, and artists. As an artist and educator himself, Raymond has presented his own works at festivals, theaters, galleries, workshops, and conferences both locally and globally. He has presented his work at the Judson Memorial Church, MoMA PS1, Cue Art Foundation, Architekturzentrum Wien, Elastic Arts, and the Venice Biennale di Danza. He was an Artist in Residence at Movement Research and Art Omi. In addition to creating new performance art works, Raymond also holds a Master’s Degree with a focus in Performance Studies from New York University. Despite the precious conditions of today’s world, Raymond intends to continue to create new works that situate the African and Latinx diasporas as contextual points of departure. While emphasizing the possibility of non-linearity as a method of aestheticizing realities, Raymond’s multidisciplinary practice makes way for the immaterial and residual to become resonate.