I listen to my now late mother breathing. She’s 93. She is taking an afternoon nap in her bedroom. I am in the "family room" making this haptic. The sounds of her breathing are projected over the speaker on the audio-surveillance system.
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Chronophilia/Chronophobia emerged from a poem/script that I wrote blindfolded. It loosely experiments with surrealist automatic writing practices, the use and subversion of meditative ritual, histories of labor, and critical theories of the attention economy.
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One of the problems with time-based endurance performances like my crawl works is they have this marvelous creamy nougat center operating inside the performer, and this space is unfortunately not available in the images and mythologies that surround the work. So, typically, the surface of the work becomes the life of the work.
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Sitting in La MaMa's Ellen Stewart Theatre, we listened carefully, watched closely, responded vocally, and were ultimately mesmerized by the participants at the “Women of the 5th Element” performing at the first American Human Beatboxing Festival organized by beatrhymer Kid Lucky in May 2011.
Read MoreIn A Thousand Plateaus, Gilles Deleuze and Félix Guattari develop a concept of the artist as not one who seeks to represent the world, or even to express or perform her soul or subjectivity, but as a “cosmic artisan” – an arranger and forecaster of a cosmic-people-to-come, a performative conduit through which intensive cosmic events continue and extend outward.
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Nicki Minaj – former American Idol judge and three-time Grammy nominee (including Best New Artist) – has for a half-decade defied expectations of what a black female rapper should be, and in the process has single-handedly expanded the roles that someone like her can inhabit and perform.
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I met Antonia Baehr at the Abrons Art Center—a place that has always reminded me of a very friendly Soviet fortress. Baehr was about to perform her piece “Laugh,” a solo performance which explores the act of laughter, that evening as part of the Queer New York International Festival.
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It is a mark of the acceleration with which ideas now circulate that the two years since this special issue of Women and Performance was first floated, “precarity” has crossed over from the European and Latin American Left to the United States.
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The artist MPA uses her body to explore the aesthetics and tactics of resistance. Her work has shown internationally, from New York to Stockholm to Oaxaca, and she has collaborated with artists including Sadie Benning, Leidy Churchman, Katherine Hubbard, and Emily Roysdon.
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SCORE FOR BEFORE Think about the evening during the day. Text about when and where. Be there when and where.
Care collective is a group of 10 people who coordinate Park McArthur's nightly care routine.
Read MoreThe plans for this special dossier on Lizzie Borden's 1983 film Born in Flames first emerged following a screening of the film organized in April 2010 by the Queer/Film/Art series in New York.1 We attended the screening together–it was Craig's first viewing, and Dean's first in many years–
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Soundtracks: a visual reading guide for listening, an auditory engagement and the liner notes on this issue's imagined inner sleeve. Here, a selected group of writers, artists and thinkers sonically approach the concepts of feminism and punk anteriority.
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