Radical Formalism | Alan Ruiz

Formalism is a dirty word––a bad object­­––and perhaps this is what makes it such an exciting, yet slippery, site to engage. Plagued by universalist goals of purity, autonomy, self-reflexivity, and political indifference, formalism certainly seems bankrupt. Yet...

Women & Performance
Digital Care | Tasha Bjelić

As a kid, I was comforted by somebody typing. A tingly sensation would ensue with specific cues, but I would only identify these triggers later on. The tingly sensation happened at the airport...

Women & Performance
Architecture of Influence: Thinking Through Craig Owens | Tom Burr

I’d like to describe a particular setting. By committing this setting to language, I’m hoping to allow it to produce its own enunciations, its own pronouncements, and announce its own limits. I want to get at something, through this setting, which has set the stage for the formation of my approach, of my work, my way of thinking.

Women & Performance
Spic in Ecdysis | A series by Xandra Ibarra

Aren’t Latinidad and spichood similarly fucked—the fuckedness of always already being the same or of resemblance in repetition? Even when I attempt to reassemble new skin, sick of my spic casings, I remain destined to be crucified through them. I can only discard and abandon the carcass; I’m stuck. My new being through ecdysis remains within “the order of the same.”

Cynthia Oliver's BOOM! and Dean Moss’s johnbrown

Dean Moss’s johnbrown and Cynthia Oliver’s BOOM! were staged in New York City in October 2014, the former at the Kitchen and the latter at New York Live Arts. We were both present at both of these performances, and, knowing that W&P would be publishing this special issue, we were struck by the significance of female youth and intergenerationality in both productions. We decided to have a conversation.