Saturday
May242014

"others will surely follow" and "Caterpillar" performances

Left: image courtesy of Danyel Ferrari and Rachel Higgins, Right: image courtesy of Glendalys MedinaTuesday, July 1, 2014 at 7:00pm

At EFA Project Space, 2nd floor of EFA Center (323 W. 39th St, Manhattan)

others will surely follow, Danyel Ferrari and Rachel Higgins

Rachel Higgins and Danyel Ferrari present a screening and selection of the projects created by both artists and audience using their (mobile structures) over the course of the exhibition. Drawing on the history of the body's performance/labor in Times Square--the street, the stage, and the semi-private pornographic theaters of the pre-gentrification era--Higgins and Ferrari are creating mobile structures to host a variety of projects intended for use by both participating artists and the general audience. Composed of mobile seating arrangements and a cart that falls somewhere between a traveling film unit and a movable stage, these objects are available to arrange for screenings, performances or events. Designed to also maneuver out o the gallery and travel into the street, these components will be activated throughout the run of the exhibition, allowing for multiple functions and configurations, and questioning our understanding of mobility as both freedom and precocity.

Caterpillar, Glendalys Medina

After practicing the rap song "One Mic" by NAS for months to learn how to become an MC, Glendalys Medina realized that vulnerability is her true source of power. So she wrote her own song, "Caterpillar," a song about transformation, which she will perform.

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Saturday
May242014

"DO I Know What I'm Doing?" discussion & "A Pattern" video screening

 Left: Image courtesy of A Pattern, Right: Image courtesy of Dillon de Give

Friday, June 27, 2014

7:00 - 8:00pm "Do I Know What I'm Doing?" discussion

8:00 - 9:30pm  A Pattern video screening

At EFA Project Space, 2nd floor of EFA Center (323 W. 39th St, Manhattan)

"Do I Know What I'm Doing?" Please join us for a discussion of liability issues for several dangerous hypothetical artworks.  

Providing Insurance Solutions for art that looks like reality: HOW IS IT DONE? What happens when organizationally sponsored social practice art is produced in environments that are difficult to control? Does art produce NEW and ORIGINAL liabilities? Does insurance define the final frontier of institutionally sponsored art? Are there established protocols and loopholes (wink wink)? Should artists make insurance considerations when proposing new work? Can EXCITING, new breakthroughs happen in this field? and Do I (Even) Know What I’m Doing

Calling all Artists, Organizations, and Insurance Agents: Contribute knowledge for the benefit of all! Please join us for our open discussion on art and insurance liability. 

A Pattern is a screening of a video essay made from a configuration of notes, and images exploring the construction of the parts of Manhattan called The Garment District, 42nd street and Times Square. It is a desire for presence, a legitimate address, without anything else than it's own production. The screening will be housed in the structure designed and built by Rachel Higgins and Danyel Ferrari.

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Saturday
May242014

Heather Love and Jen Rosenblit

Left: Image courtesy of Heather Love. Right: Photo credit Kate Raines/Plate 3 Photography, pictured Addys Gonzalez.

Wednesday, June 25, 2014, 7:00 - 9:00pm

At EFA Project Space, 2nd floor of EFA Center (323 W. 39th St, Manhattan)

Building on her recent work on the Stigma Archive and queer affect, Prof. Heather Love will facilitate a participatory lecture/workshop in response to Jen Rosenblit’s improvisational movements and experiments with "presence." 

Prof. Love is currently at work on a project researching the source materials for and archives of Erving Goffman’s 1963 book, Stigma : On the Management of Spoiled Identity. Goffman theorized stigma as a trait or characteristic that could severely damage, or spoil, his or her identity. Physical disability, conviction of a felony, and homosexuality are all examples of stigma in Goffman’s work.

Jen Rosenblit’s improvisational movements in Scenarios for Hovering explore the idea of levitation as a way to understand the body’s relationship to the physical space and other works. She does not claim a space for her performance, but rather looks for ways to be present, to show up and decide, in the moment, how appearing responds to the contents of a space, or does not. 

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Saturday
May242014

Anhoek School presents WMYN 87.9 FM

 

Image courtesy of Rafael Kelman and Mary Walling Blackburn

Sunday, June 15, 2014, 12:00-3:00pm

At EFA Project Space, 2nd floor of EFA Center (323 W. 39th St, Manhattan)

Anhoek School, facilitated by Mary Walling Blackburn and Rafael Kelman, presents an afternoon coffee house in the exhibition space to accompany their sound project WMYN 87.9 FM. During the coffee house, several of WMYN’s contributors will sing/chant/ perform their songs live.

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Saturday
May242014

Simultaneous Presence

Left: Image courtesy of Bill Dietz. Right: Photo credit: Kate Raines/Plate 3 Photography, pictured: Addys Gonzalez.

 

Bill Dietz, Hypothetical Non-Attenuating Zuccotti Park Reflection Times

Jen Rosenblit, Scenarios for Hovering


Friday, June 6, 2014, 6-8pm

At EFA Project Space, 2nd floor of EFA Center (323 W. 39th Street, Manhattan)

Bill Dietz invites us to participate in the first of two spatial listening exercises (the second takes place on June 21st from 3-5 pm), Hypothetical Non-Attenuating Zuccotti Park Reflection Times. Using real instances from the people’s mic during occupy wall street, Dietz will facilitate a group rehearsal with attendees that translates the time it took for sound to travel between speaker and group into spatial relationships. The exercise will take place both in the gallery and on the street near EFA. 

In the first of a series of three performances, Jen Rosenblit’s improvisational movements in Scenarios for Hovering explore the idea of levitation as a way to understand the body’s relationship to the physical space and other works. She does not claim a space for her performance, but rather looks for ways to be present, to show up and decide, in the moment, how appearing responds to the contents of a space or does not. 

Click to read more ...