Archives for posts with tag: Mandy Morrison

How does one create a performative work that considers the aesthetics of narrative while simultaneously speaking to the political moment we are in? In 2014, I planned this performance to include several Staten Island, NY residents that would be presented in a prominent community space. Select participants, including myself, were given a notebook with 100 pages in which to capture an observation for each day that passed over a three + month period. Then, in late July of that year, Eric Garner’s death occurred within blocks of the performance location; a historic WPA, New York City Parks building. As I took in the events that occurred both in NYC and in Ferguson, MO, I saw the need for this group to create a narrative that spoke directly to their lived experience. In private conversations with each, issues of of marginalization came up whether for socio-economic, or other reasons and I spent hours with each person talking about a timeframe of their lives in which an experience or form of struggle had brought about enormous change or a shift in perspective.

This is the resulting piece from those conversations. In looking forward to 2015 (and beyond), I am seeking different environments and situations to present an updated incarnation of this idea.

30:00 clip: https://vimeo.com/118503791

10:00 minute excerpt: https://vimeo.com/119306210

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Charlemagne_ Palestine

I met Charlemagne Palestine after attending his book signing at Electric Arts Intermix in December and went to his opening a few days later at Sonnabend. It was nice that we had mutual friends and even better that his process intersects with my own vis-a vis a personal bodily engagement. A trio of video installations: Ritual Dans La Vide, Motions x 24 and Cemetery Trio, blend lo-tech, fleeting imagery with bellowing sonic rants and architectural meanderings. I was drawn into his winsome world of empty rooms, resting places (cemeteries) and rides (Coney Island’s Cyclone). The technical equipment made friendly with his fetish-y objects and fabric, it’s a go-to; worth the effort before the show closes Feb 1. He’s performance history and it’s the real deal.