Interview with Sean McCarthy

Interviews

 

Sean McCarthy is a New York based stand up comedian living in Bushwick. Every month he hosts The Major Major Show, a showcase of local comedians at Molasses Books. His first comedy album can be downloaded  free from his website.

First, speak a bit about your background. What lead you to comedy? What kind of material are you drawn to and why do you think comedy is the best way to address that material?

I was sort of a class clown type when I was younger. In high school my friend dared me into doing an open mic which was fortunate since I was such an introvert I don’t know when I would have started on my own. After that I was hooked.

My favorite material is the kind that is funny while also presenting the comedian’s world view, even if it’s one I disagree with. I love when I can watch a stand up and laugh and then think about things that hadn’t occurred to me before. Hearing George Carlin talk about religion entirely changed the way I thought about it.

Comedy is entertainment and entertainment is a great way to convey ideas mainly because it’s not boring. You can talk about literally whatever you want and have people listen as long as you can make it funny.

You have a joke about politics being boring in order to keep people from paying attention (sorry for the poor paraphrasing). Do you use comedy as a means to get people to pay attention to things that have an effect on them?

Politics are boring because in a republic the rich can’t control the masses through fear so instead they have to find ways to make them divided and indifferent. I use comedy to try to talk about the things I see but I don’t hold any serious desire to raise awareness or change things with comedy, I just want to make people laugh with the kind of stand up I most enjoy.

You mentioned George Carlin. Carlin is a great a example of a comedian who’s able to entertain without compromising his ideas. As a comic who’s drawn to this type of material, do you find it difficult to strike a balance between entertainment and ideas without one distracting from the other, or do you find they naturally go together?

To me there is no conflict because entertainment is always supreme. I do this because I want to make people laugh and everything else has to be secondary to funny. It’s great when I can discuss what I feel is an important issue through comedy but I’d rather write a funny bit about something meaningless like shampoo bottle labels than some big political joke that is interesting but unfunny.

How did the Major Major Show come into fruition? What were your intentions for the show in the beginning?

I moved to Bushwick a little more than a year ago and heard about Molasses Books through a friend. I visited it a few times and it seemed like a really cool spot to put on a show so I messaged the owner and I’m thankful he was excited about the idea. A lot of New York based stand ups live in Bushwick now but there’s not as many shows or open mics in this area. My hope was just to provide a good, intimate comedy show not only for the comedians who live in the area but for the other people who are just moving out here. There’s so much great stand up in New York and most of it can be seen for free so I think everyone who lives here owes it to themselves to check it out.

Venues for other art and entertainment related events seem to increase here daily, but, like you said, there is not a lot of stand up happening in the area, despite its significance in the culture of the city at large. Do you have any comment on this, or on the comedy scene here in general? Do you sense any kind of emerging comedy scene in the area?

Yeah, I think as comedians keep moving here more things are going to happen in this area. There’s already a great show every Friday at Cobra Club, they have shows at Tandem Bar, and there’s now a Tuesday show at Ange Noir. I think right now Bushwick and Astoria are the two main places most New York comics live and comics are lazy and don’t like taking the train places so I expect more and more great shows in this area.

 

The next two Major Major Shows will be on June 27th and July 25th at Molasses Books, 770 Hart St.

AROUND TOWN: Lots of exhibition openings!

LOTS OF OPENINGS AROUND BUSHWICK TODAY!

“Glorious Creatures,” an exhibition featuring artworks
by Jeff Davis, Deborah Mesa-Pelly, and Michael Wetzel.

Reception 6p-9p
Honey Ramka
56 Bogart St.
(646) 401-4431

Adam Simon: Swipe
Reception 6p-9p
Studio10
56 Bogart Street
(718) 852-4396

“PAST/FORWARD”
Reception 6p-9p
Amos Eno Gallery
1087 Flushing Avenue, Suite 120
(718) 237-3001

AZETTAGH
Reception 7p-10p
OUTLET Fine Art
253 Wilson Ave
(915) 525-0410

Reva Castillenti | Corporeal Digest
Reception 6p-9p
et al projects
56 Bogart Street
(914) 498-8328

Things That Barely Exist by Pancho Westendarp
Reception 6p-9p
Robert Henry Contemporary
56 Bogart St
(718) 473-0819

X-istential
Reception 6p-10p
Loft 594 Gallery
594 Bushwick Avenue
2nd Floor
(305) 205-9722

and a performance at
Grace Exhibition Space
“BODY/MASS” Performances
by Faith Johnson, Nyugen E. Smith,
Geraldo Mercado and Thomas Albrecht
Curated by Samuel Burhoe (with Jill McDermid and Esther Neff)
Doors 9:00 Performances 9:30-11:00 pm
Donation suggested $5-15
840 Broadway, 2nd Floor

REVIEW: Candy Colored Clown: Response to “Economy Candy” at Harbor Gallery

Candy Colored Clown: Response to “Economy Candy” at Harbor Gallery
written by Conor O’Brien, The Living Gallery

Ross Moreno is clown apparel

Ross Moreno is clown apparel

Justin Cooper, dressed in park ranger garb, introduces himself as yet another park ranger who has moved to Brooklyn. He explains that like most park rangers, he needs a side job to support himself: so he does performance art. This joke works mostly on the level of its simplicity, specifically the awareness of its own simplicity. Most of the performance operates on this hyper-aware level wherein the jokes, magic tricks, and stunts adopt an aesthetic of simplicity and childish absurdity as the joke is often the joke itself: its awkward and/or childishly sincere delivery, basic structure, and anti-climatic punchline. Cooper and his partner Ross Moreno so often comment on the performance (usually self-deprecating) within the performance that it can become unclear at which point a seeming mistake is genuine or just part of the performance, part of its self-referentiality.

Another park ranger moving to Brooklyn

Another park ranger moving to Brooklyn

In the first part of the two-parted performance, Cooper makes a joke about his partner’s birth saying “He was born with a full head of hair, and a cigar in his hand that he used to cauterize his own fallopian tube.” Realizing his mistake, Cooper fumbles for the correct term, needing to ask the audience before he remembers what he meant to say is “umbilical cord.” By the time he returns to the punchline (“But I don’t believe it. Cause I don’t think he ever had hair”) the audience has already forgotten or lost interest in the joke’s set up, and the punchline loses all steam. But those who went to both performances would realize that what seemed as a genuine mistake was actually intentional, as Cooper repeats the same joke with the same mistake in the second show. The duo often undermine themselves in this way, and to some extent they do it to play with the audience: a Kaufman-esque effort to baffle, antagonize, or otherwise playfully prank the viewer. The performance feeds on audience reaction, its confusion or discomfort in particular, often going as far as implicating the audience in the performance, during moments where character/fourth wall is broken or the audience is invited (or more likely forced) to participate.

April Childers “Santa for all Seasons (Cheeseburger Santa)”

April Childers “Santa for all Seasons (Cheeseburger Santa)”

April Childers “Pocket”

April Childers “Pocket”

The two performances are part of Harbor Gallery’s “Economy Candy” exhibition. The name is taken from a Lower East Side candy shop that opened during the Great Depression. A candy shop which sells discount candy, whose existence is necessitated by a harsh economic reality, acts both as a distractive relief from those realities as well as a reminder of them, this reminder just thinly and almost mockingly veiled by the shop’s colorful, candied walls. This juxtaposition, the dual role of distraction and reminder, which can be applied to comedy and art as well as to candy shops, seems to be the main concept dealt with by the artists exhibited in the show. These artists, playfully and with a sense of humor, explore the ways that art can distract/ soothe/ even numb and the ways it can make reality felt more immediately. These two effects of art are not mutually exclusive, as all art contains some ratio of both, and each effect can be used to produce the other: reality, struggle, pain can be sublimated into entertainment while alternatively, as seems to be the case with some pieces in this exhibit, a more kitschy/ readily accessible aesthetic can be adopted exactly for the moment when it is broken, the veil lifted, and rather than being distracted, people are made more  keenly aware of their discomfort for the element of surprise.

Jeff De Golier “Spirit Lake”

Jeff De Golier “Spirit Lake”

Jeff De Golier “Motor Boat”

Jeff De Golier “Motor Boat”

Two pieces by April Childers use familiar symbols of American culture to make large, absurdist sculptures. “Pocket” is an oversized, denim pocket filled with a half-deflated beach ball so that it balloons out from the wall. With “A Santa for all Seasons (Cheeseburger Santa)” a cartoonish depiction of Santa Claus resembles an anthropomorphic cheeseburger. The combination of these otherwise harmless and familiar images creates a sculpture that is as unsettling as it is humorous. Jeff DeGolier creates sculptural collages using a variety of objects and materials: coffee cups, champagne glass, sawdust, glitter, mirrors, yarn. His piece “Motor Boat” is constructed from a car stereo and two large speakers which are draped in doilies and yarn, a collage of the loud and the delicate. Maria Britton makes abstract paintings using acrylic paint on bedsheets, which are wrinkled so that the canvas, rather than being simply a backdrop on which the piece is painted, asserts itself as being part of the piece. Alicia Gibson uses acrylic, oil, and spray paint to make colorful, loud, disorienting paintings which seem to reflect a chaotic experience of urban life.

Series by Maria Britton

Series by Maria Britton

Alicia Gibson “Notes of a Dirty old Woman”

Alicia Gibson “Notes of a Dirty old Woman”

Much of the humor in Justin Cooper and Ross Moreno’s performances come from playing with these two juxtaposed forces in art and comedy. At one point Moreno, dressed as a clown, performs a magic trick only to start berating the audience for not “understanding” it. Distraction and diversion are the fundamental techniques of a magician; it is important for the magician to divert the audience’s attention or mislead their expectations so that trick takes them by surprise. In the case of Moreno’s bit, it is the magic trick itself that is the diversion, they expect some sort of surprising conclusion to the trick but they do not expect the performer, dressed as he is in a clown costume, to suddenly turn on them. At one point Cooper plays a lounge singer who in between songs confesses to his lingering, debilitating depression. Similarly, the show’s “encore” features Cooper playing an overenthusiastic pitchman who at one point begins bleeding from his mouth and reveals a wound on his torso before collapsing to the ground. Their humor comes from diverting the audience in some way, with some silly/ childlike aesthetic, soothing lounge music, or excess of enthusiasm, only to allow the things broiling below the surface performance, some antagonism between performer and audience, depression, etc., to reveal itself.

The “Finale:” Justin Cooper attempts to break a cinderblock over Ross Moreno

The “Finale:” Justin Cooper attempts to break a cinderblock over Ross Moreno

All photos on this post are © Conor O’Brien 2014.

Gallery Location: 17-17 Troutman #258, Queens, NY 11385
Hours: Saturday/Sunday from 1pm to 6pm and By Appointment
Exhibition Dates: January 11th through February 16th, 2014!
Gallery Contact: info@harbor1717.com

REVIEW: The Artist Relieving Herself: Response to Katherine Bauer’s “Teenage Dream Sequence: Seduction of the Eye” at Microscope Gallery

The Artist Relieving Herself: Response to Katherine Bauer’s
“Teenage Dream Sequence: Seduction of the Eye” at Microscope Gallery
written by Conor O’Brien, The Living Gallery

“At the bottom of their hearts, they are quite aware that this is urine.”

“At the bottom of their hearts, they are quite aware that this is urine.” (Photo: Conor O’Brien)

Story of the Eye begins with an awakening. The unnamed narrator of Georges Bataille’s little 1928 novel confides in the first line that he grew up “alone” and that he was “frightened of anything sexual.” [1] He soon meets a girl named Simone, whose sexual proclivities are described in this way: “She so bluntly craved any upheaval that the faintest call from the senses gave her a look directly suggestive of all things linked to sexuality, such as blood, suffocation, sudden terror, crime; things indefinitely destroying human bliss and honesty.” [2] It would be a mistake to think that the narrator’s fear of sex is opposed to Simone’s desire for upheaval; the fear is the whole point. The narrator does not awaken out of the fear associated with sex; his awakening is a coming to consciousness of this fear, and constant desire to meet it. Fear is at the heart of upheaval, is what distinguishes it. Fear is the sense used to identify the point where upheaval is possible. And fear is felt most keenly at the moment before a coming out of unconsciousness, before fear is brought to an awareness of itself, before the transgression of what Bataille calls the “discontinuous existence,” the realm of that private and sacred individuality and self-compartmentalization we are conditioned to desire; the realm of routine, ritual, and all things safe and solid, which, for Simone, becomes necessary only at the moment it is dissolved and profaned.

Katherine Bauer and associates mid-performance (screenshot from Microscope Gallery’s Vimeo)

Katherine Bauer and associates mid-performance (screenshot from Microscope Gallery’s Vimeo)

Katherine Bauer’s performance at the Microscope Gallery is an interpretation of Bataille’s novel. It is the third in a series of works entitled “Teenage Dream Sequence,” which according to Microscope’s press release explores the “coming of age rites of the American female teenager,” in this case “dirty novels.” For those who discovered it at a young age, reading Bataille’s story becomes a performance of transgression, and the effect mirrors the narrator’s awakening with which the novel begins, the sudden and shocking awareness of the unconscious in the process of submitting to Bataille’s extreme fantasy. Bauer’s piece can be seen as representing the performance of reading Story of the Eye, this act of personal and intimate transgression, the reader’s submission to the author’s work transmuted from private to the public, the inner experience becoming a shared experience between performer and viewer, and an enactment Bataille’s philosophy. Bauer’s work can also be thought of as a translation of the novel (and translation is always necessarily an act of interpretation) using film, photography, performance, and those physical materials important to Bataille’s text: eggs, milk, wine, and even urine. A short video excerpt of the performance can be viewed on the Microscope Gallery’s Vimeo: http://vimeo.com/82072713

Remnants of the performance

Remnants of the performance (Photo: Conor O’Brien)

The objects displayed in the Microscope Gallery are the remnants of Baeur’s performance/“translation”: three large, abstract “Eye-O-Grams” made by applying the aforementioned materials on fiber paper, four excerpts from the novel written on fiber paper from which the performers read (the ink now smeared and the text distorted), film reels of the artist’s eyes which were projected during the performance, a sound recording, and a wine glass filled with a mixture of champagne and the artist’s urine. The latter object is one of the more literal translations of the text, inspired by a segment in which a character named Sir Edmund explains Catholic symbolism: “And as for the wine they put in the chalice, the ecclesiastics say it is the blood of Christ, but they are obviously mistaken. If they really thought it was blood, they would use red wine, but since they employ only white wine, they are showing that at the bottom of their hearts, they are quite aware that it is urine.” [3] Bataille mocks the Catholic doctrine of transubstantiation, but also uses this doctrine to elucidate one of his techniques. The imagery in the Bataille’s work slides between forms: eyes become eggs become breasts become testicles; urine becomes sunlight becomes yolk becomes milk becomes semen becomes tears. The novel dwells in this world of shifting forms, and the elements of the “continuous existence” (which opposes the “discontinuous existence”) revealed by the association and transubstantiation of distinct yet similar forms.

An “Eye-O-Gram”

An “Eye-O-Gram” (Photo: Conor O’Brien)

Bauer’s “Eye-O-Grams” are adaptations of this technique: like Bataille, Bauer forces associations between eggs, milk, wine, and urine within the confined space of the page. The difference is, with Bauer’s work, these objects are translated from the linguistic to the material. A major example of linguistic association in Bataille is his comparison of the French words oeil and oeuf (eye and egg), brought into association with each other because of their similar spelling and sound (it is not coincidental that the objects they refer are also similar in shape and color). The linguistic association (metaphor, pun, etc.) is meant to contain both words equally, without giving either component dominance. With Bauer’s material association, the effect is similar: the substance in the glass is both wine and urine, not one thing or another and not one thing standing in for another thing; the two substances are indistinguishably combined. The result is like the unconscious association surfacing on the level of material reality, transgressing the realm of the psychologically/symbolically resonant to that of the physically blunt: an upheaval akin to Simone’s fantasies.

Four excerpts from the novel read during performance

Four excerpts from the novel read during performance (Photo: Conor O’Brien)

This upheaval, one which renders the symbolic object material, is significant in Bataille’s philosophy as a means for people to tap into the “continuous existence.” The “eye” is the supreme object of Bataille’s philosophy because the eye is a symbol of sight and is the organ associated most directly with illusion, and thus it is also most susceptible to disillusionment. When the eye is removed from its socket, rendered sightless and thus useless as a symbol, the remaining object becomes strange to us, those so accustomed to understanding it through the lense of its symbolic function, ridiculous and egglike in its naked materiality. Such is the reason for the eye/egg metaphor, and the purpose of the novel’s climactic scene wherein Simone removes a priest’s eye and uses it for stimulation.

Film reel projected during performance

Film reel projected during performance (Photo: Conor O’Brien)

Bataille, in his 1943 preface to Story of the Eye, explains the penname under which the novel was originally published: “‘Lord Auch’ refers to the habit of a friend of mine; when vexed, instead of saying ‘aux chiottes!’ [to the shithouse], he would shorten it to ‘aux ch-.’ Lord is English for God: Lord Auch is God relieving himself…Every creature transfigured by such a place: God sinking into it rejuvenates the heavens.” [4] Katherine Bauer enacts this process. It is the process of the symbol profaning itself: a disrobing of all pretense of symbolic self necessary to understanding what Bataille termed the “continuous existence,” the most heightened manifestation of which is death. Bauer’s act of immersing her art and herself in “base” materials has behind it these ideas: the artist relieving herself, self-debasement as self-sacrifice, and self-sacrifice as a means to rejuvenation. Bataille was obsessed with the idea of sacrifice, and sex (being linked with death) was for him a form of sacrificial roleplay. Because it requires a relinquishing of self and a submission to foreign fantasies, the act of reading is also related to the sexual/sacrificial ritual. One encounters the novel the same way the narrator encounters Simone, a purely subversive figure who is at once exciting and frightening to him. Bauer performs this “coming age rite,” during which the reading of dirty or subversive novels becomes an act of transgression.

“The faintest call from the senses gave her a look directly suggestive of all things linked to sexuality”

“The faintest call from the senses gave her a look directly suggestive of all things linked to sexuality” (Photo: Conor O’Brien)

[1] Bataille, Georges. Story of the Eye (San Francisco: City Lights Books, 1987.) p. 3
[2] Ibid., p. 6
[3] Ibid., p. 76
[4] Ibid., p. 98

TONIGHT: “Movement is Flexible” A Dance and Sound Series. Vol 1.

“Movement is Flexible”
A dance and sound series. Vol 1.
Curated by Elle Erdman & Matt Mottel

at The Living Gallery, 1094 Broadway, Brooklyn, NY
Thursday, December 19, 2013 from 9:00pm until 11:00pm

$7

‘Movement is Flexible’ seeks to combine multiple strains of ‘movement’ by showcasing work of different ‘types’ of dance. New performance theory and ballet technique will be intertwined in a unique program featuring a dance performance from each ‘field’ of dance, followed by an open session where the dancers showcased will improvise together, melding technique and aesthetics with an open invitation for dancers of any field to participate in the final event of the program.

Program #1
Elle Erdman & Jessica Cook ~ Sound by Danny Moore
Lulu Soni ~ solo dance
Open Collaboration ~ Sound by Matt Mottel
(Other dancers from audience are encouraged to join,
after the piece begins to develop starting with featured dancers)

RSVP on the Facebook Event!

Movement is Flexible

REVIEW: “Intention/Intentionality” at Panoply Performance Laboratory

Review: “Intention/Intentionality” at Panoply Performance Laboratory
written by Conor O’Brien, The Living Gallery

As explained by Panoply Performance Laboratory co-founder Esther Neff, their event series Performancy Forum showcases “interdisciplinary experimental performance,” with each one revolving around some relevant discourse. The thirty-first installment of the series uses the theme “Intention/Intentionality” to contextualize performances by Matthew Gantt, Natasha Jozi, Ayana Evans, Ian Deleon, and Ellen O’Meara.

Matthew Gantt at his audio mixer.

Matthew Gantt at his audio mixer.

Matthew Gantt performed two compositions played on an audio mixer, made up of layered looping tracks of prerecorded instruments and sounds, each based around “an open-ended structure,” which he was able to manipulate midperformance.

Gantt claimed during the Q&A following the show that he conceives of his pieces as being “compositional objects,” completely independent of any personal or autobiographical themes. He conceived of himself as a worker and the compositions his products, and this idea of impersonal production is an interesting lens through which to view his performance.

Natasha Jozi in full costume, circling centerpiece.

Natasha Jozi in full costume, circling centerpiece.

Unlike Gantt’s performances, most of the other performances were informed by the performers’ explorations of identity. Natasha Jozi’s performance featured the performer covered from head to foot in white cloth, circling a display of several wine half-filled wine glasses, as she spoke several phrases in Urdu that were simultaneously translated into English by a fellow performer. Jozi eventual broke the pattern of circular movement as she moved into the centerpiece and began covering her costume with wine, staining it red.

Jozi pulls wine-stained cloth from under wine glasses.

Jozi pulls wine-stained cloth from under wine glasses.

Jozi, who grew up in Pakistan, claimed the piece was based upon her own autobiography, spirituality, and as she does not drink and is uncomfortable with alcohol, the act of immersing herself in discomfort. Her performance reflected the repetition of ritual, exploring themes of language, wine as symbol of something sacred and also something that “stains.”

Ayana Evans confront man taking a picture of her in Chelsea.

Ayana Evans confront man taking a picture of her in Chelsea.

Ayana Evans presented a montage of clips from her “Operation Cat Suit” video art series, in which she dresses up in the eponymous neon colored, tiger striped one piece suit, travels to different art districts in the city, and confronts people trying to take pictures of her, in order to gauge these people’s reasons for doing so. According to the artist, the video series is a social experiment on the act of “heightening oneself,” of amplifying one’s personality and appearance, and an exploration into the kind of attention and voyeurism garnered by this act.

Ian Deleón drawing on bag of Domino Sugar.

Ian Deleón drawing on bag of Domino Sugar.

Ian Deleón’s performance, titled “Open Veins, Diabetic Souls,” concerns the history of colonization in the Caribbean, in order to explore his own family history, as well as bring attention to the complex colonial history of the familiar, which in the case of this performance was Domino Sugar. The first picture shows Deleón drawing on a large bag of Domino sugar what was revealed at the end of the performance to be a map of the symbolic meanings and historical associations of the props he used during his performance, bringing the artist’s thought process into the actual material of the piece.

Deleón dancing with bag of sugar.

Deleón dancing with bag of sugar.

This picture shows Deleón wearing a gag ball (a reference he revealed later to the Puerto Rican “Gag Law” of the 1940s which suppressed independence movements), and dancing affectionately with the bag of Domino sugar to Carribbean music (one particularly relevant song on the playlist was “Rum and Coca Cola” by Lord Invader, who sings in the chorus “Drinking rum and coca cola/ Go down to Point Koomahnah/ Both mother and daughter/ Workin’ for the Yankee dollar”). As the performance went on, it became progressively more of a strain for Deleón to keep holding the heavy bag.

The show closed with Ellen O’Meara, not pictured due to technical difficulties (dead camera), who performed two lyrically minimalist songs played with a drum kit and looping, echoing sounds. With this performance, O’Meara claimed she was experimenting with methods of execution she isn’t used to: new technologies, different lyrical approach, and performing solo, which she said she usually does not do.

Cleaning up after Jozi’s performance.

Cleaning up after Jozi’s performance.

“This is part of the piece, by the way,” Matthew Gantt joked as he struggled to set up his equipment, having to move to different spots around the space until he found one close enough to hook his equipment up to the sound system. Though not meant to be taking seriously, there was something interesting in the statement with regards to the show’s theme of intention and intentionality; something interesting in how the event around a performance, the set-up and breaking down of props and equipment, could be understood as being incorporated into the performance itself. There seemed to be a move in many of the pieces to intentionally incorporate things outside the performance proper, to appropriate them or at least bring out an awareness of them. After her video, Ayana Evans presented some of the YouTube comments on her “Operation Cat Suit” videos; during his peformance, Ian Deleón drew a map of his thought process and read a passage from Open Veins of Latin America, one of the source materials for his piece, Matthew Gantt discussed how the approach he took toward his compositions was meant to incorporate all of the logistics of music making, rehearsal, booking gigs, etc. Pictured above is Natasha Jozi, Esther Neff, and some of the show’s attendees helping clean up after Jozi’s performance. Perhaps it the size and intimacy of the space at Panoply Performance Laboratory itself that lends itself to this kind of thinking: without a means to keep these things hidden, to keep the performance separate from its surrounding logistics, there is almost a call to contemplate how these unintentional aspects add something to the overall experience of the performance.

Where: Panoply Performance Laboratory,
104 Meserole Street,
Brooklyn, NY 11206
Contact: Esther Neff
(panoplylab@gmail.com)

TONIGHT: PERFORMANCY FORUM XXXI: Intention/Intentionality

When: November 11, 2013 at 7:00pm
Where: Panoply Performance Laboratory,
104 Meserole Street,
Brooklyn, NY 11206
Contact: Esther Neff
(panoplylab@gmail.com)

“Performance art, video of social action, and live music compose the 31st installment of PERFORMANCY FORUM, a platform for experimental performance practices across disciplines. Each event uses a topic/title as a frame for discussion and analysis of the work. This time, we focus on the intentions of the artist, the intentions of participants, and intentionality as it relates to performance.”

IAN DELEON
http://iandeleon.com/

AYANA EVANS
http://ayanaevans.tumblr.com/

NATASHA JOZI
http://www.natashajozi.com/

ELLEN O’MEARA
http://ellenomeara.com/

MATTHEW GANTT
http://themoneyjungle.tumblr.com/

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Pay-what-you-can: $5 – $15
Brooklyn Brewery available for a suggested donation.
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“What is an intention? What does it mean to ‘have’ or ‘not have’ one? How are intentions subverted, misinterpreted, appropriated, and invented? To what extent does an artist get to decide what their work is ‘about’ and/or how it operates for a live audience in a live situation? To what extent are intentions ’embedded in’ or visible in artwork?”

(Information/Text Source: http://bushwickdaily.com/ai1ec_event/performancy-forum-xxxi-intentionintentionality/?instance_id=1671)