|BAX | Brooklyn Arts Exchange |
is excited to announce
FROM OBAMA TO OCCUPY:
Works of Outrage from 2008-2012
curated by Jesse Phillips-Fein
presented as a part of the 2012/13 PERFORMANCE & DISCUSSION SERIES
January 18th-19th, 2013 @ 8:00pm
hosted by Shanté Paradigm
featuring work by #ajmia American Justice Missing in Action, Aurin Squire, Betty T. Kao, Chris Tyler, Jesse Phillips-Fein, Matt Sheridan, Michael Milligan, Movement of the People Dance Company, santiago venegas, Sara Lyons, and screaMachine
Directly engage the artists as they reveal their creative process.
Preview works-in-progress and give your impressions in a moderated post-performance discussion. The curators, either alumni or current Artists In Residence, bring the kind of diversity of thought, research, interest, and aesthetics we look forward to and celebrate.
From Obama to Occupy: Works of Outrage from 2008-2012 is a sequel to the 2009 hit show, Requiem for W, Overture for O: Works of Conscience from 2000-2008. This event marked the end of the Bush era by celebrating how artists responded to the policies of the Bush Administration while encouraging continued action towards justice. The pieces move beyond simply bashing President Bush and heralding President-elect Obama. Instead, they provided reflection on how we survived, commemoration for those who didn't, critical thought about the role of artists in activism, and information about how to become involved in local organizations that are working on issues of social justice.
Even before we knew the outcome of the 2012 election, there was a vital need to reflect on how artists had responded to Obama and the political events of the past four years. By looking at what artists have created, we gain a new frame for understanding the unique challenges for political debate and presidential critique brought on by Obama's first term. Obama's election highlighted racial discourse in various ways: contentious debates about a "post-racial society", racist attacks by the Right, conflicting and ambivalent responses from the Left, and the differing emotions, expectations, achievements, and disappointments that his term has had for white people and people of color. From Obama to Occupy: Works of Outrage from 2008-2012 generates a space for art to be a powerful platform to engage deeply with the contradictions and questions that Obama's presidency has raised.
Tickets: $15 General | $8 Low-Income
Tickets will be available one month before the performance.
ABOUT THE ARTISTS
Matt Sheridan Jesse Phillips-Fein
Jesse Phillips-Fein (curator) is a dancer, choreographer, dance educator and producer of multi-genre shows. She grew up in Brooklyn NY, where she studied dance at the BAX and The Dalton School. She earned a B.A. in Dance & Cultural Anthropology from Smith College, and a Diploma from the Laban Centre in London, England. Since returning to NYC in 2001, her work has been presented at BRICstudio, BAX, Chashama, Connelly Theater, DNA, Danspace Project, Dixon Place, HERE Arts Center, GreenSpace, Movement Research at Judson Church, Theater for the New City, Williamsburg Arts Nexus, and White Wave. In addition, she has performed with CORA Dance, Cassie Mey, EmmaGrace Skove-Epes, Layard Thompson, Adam Matta, Box By Three Dance Co., Women's Works, White Folks Soul, & Square One Collective. She received grants from DTW's Outer/Space program, BAC, LMCC and the Puffin Foundation. She currently teaches Middle & High School dance at the Brooklyn Friends School.
own,Owned (excerpt) engages with the concepts of "hope" and "change" within the current American landscape. Dissecting how these desires include fantasies of racial harmony, constructed and controlled through various forms of media, entertainment, and commercialism, the piece examines the effect of divorcing hope and change from actual power. In doing so, it exposes our collective lack of imagination.
#ajmia American Justice Missing in Action
Kanene Ayo Holder -- Searing wit, unwavering courage and unflappable honesty characterize Holder's work -award winning satirist, educator, writer and occupier. Her debut solo-show SITCHAASSDOWN was deemed "21 perfect-pitch snapshots of the black experience by a strong character actor" by NY Magazine, and subsequent shows received awards including Franklin Furnace, Puffin Foundation and Bard College's Institute for Media, Culture and Difference.
As founder of the SITCHAASSDOWN FOCUS GROUP TOUR, she infuses her praxis for venues including Brooklyn Museum, La Mama ETC and Harlem Stage. Highly desired to engage audiences while exploring what she refers to as "intersections of (in)justice", Holder was commissioned to create works for William Pope L., Sanford Biggers, Beth Coleman and Imagining America.
CUNY's Colin Powell Center for Policy Study funded her research on urban classrooms. PBS highlighted her innovative teaching for their Teaching and Learning Conference. She also received an NEH Fellowship to research Zora Neale-Hurston.
$earching for American Justice: The Pursuit of Happiness -- AmericanJustice is satirical character refashioned to reflect our 21st century DisInformationAge as an out of touch D-list celebrity in the mold of Kim Kardashian or Paris Hilton.whose blind allegiance to the status-quo, highlights our moribund democracy. Legally blonde & Legally blind, AJ is the
heiress to the scales of Justice. Infantilized by our latent national pseudo-information-age, and
totally out of touch with reality, AmiJ, like Paris and Kim and Chloe is a parasitic socialite. AmiJ is preoccupied with making red-carpet, public cameo appearances for
unabashedly-ubiquitous social media self-promotion. $earching for American Justice: The Pursuit of Happiness explores Intersections(of)Injustice including race, class, gender and brutality, discussed across genders and generations. Through AJ's hyperbolic celebrity persona, she incites contemplation, encouraging further research, hence, nurturing an engaged and educated populous. $earching for American Justice... investigates systems that benefit the 1% by putting #profitoverpeople. Who does our government protect?
Who does our government serve?
Learning his craft from newspaper reporting, Aurin Squire started off at Northwestern University combining journalism, documentary filmmaking, and sound engineering. He quickly branched off into theatre, multimedia and web videos. Squire's plays have been seen around the country and received noted acclaim and reviews. As a journalist, he's worked with some of the best editors and reporters at The Chicago Tribune, The Miami Herald, ESPN, to name a few publications. As a multimedia writer and producer, his award-winning work stretches from the permanent exhibit Dreams of Freedom at the National Museum of American Jewish History (Philadelphia) to docudrama play about immigrants fleeing the Spanish Inquisition. He writes and produces viral videos for phone apps like MISTER. Squire is also the creator and executive producer of the online viral festival, Vote It Forward (voteitforwardfest.com) that displays political virals from around the country and awards over $10,000 in prizes.
African Americana is a dark comedy about a field organizer for the 2008 Obama campaign. What happens when a jaded New Yorker is dropped into one of the poorest areas of the nation: East Cleveland? He must learn to deal with the poverty, gangs, police harassment, and threat of violence. And then one night at 2:50 am, his life suddenly changes when police stops him. African Americana is a fictionalized re-enactment of true events from the campaign trail notebook.
Betty T. Kao
Betty T. Kao is an artist and writer, integrating both mediums as tools for storytelling. Kao is a Taiwanese-American, raised in New York City; a place where global culture prevails, and a single neighborhood will be fused with dozen of cultures. She is a visual storyteller, her major influences and investigations include anthropomorphic objects, puppetry, metaphysics, mythology, nature, medicine, and social change. The mixed-media nature of her work relates to how she interprets her surroundings in relation to herself, exploring the mythologies and memes of our culture. She is interested in how artists use images to voice the collective subconscious. Her award winning art and writing have been featured in various publications including The NuyorAsian Anthology: Asian American Writings About New York City and The Alternative Art Economies Primer. She has a BA in visual arts and environmental studies. Her work has been exhibited at several galleries and museums.
Somewhere, Babylon -- The work is presented as a poem narrated over animated art projected layered onto shadow puppets silhouettes, the reader, and the screen. The poem reflects the cost of war from different angles, and those who want to benefit from the idea of "maintaining a quality of lifestyle". A corporation is not a person, it is not sentient. Soldiers and civilians are thrown into battles, not always for liberation, but for the right for corporations to sell their products. The poem is a response to reports on how America was winning the war against Iraq, but was no longer making progress in Afghanistan. It references the horrors of the economy crisis, stories of people who couldn't afford to provide for their families in America, who answered job offers to deliver fast food from private companies to the military. The unarmored delivery vans were susceptible to road bombs and many fatalities occurred.
Chris Tyler is an interdisciplinary performing artist intrigued by the intersections of pop culture, queer theory, and the technological complexities of contemporary identity. In layman's terms, that means he really likes Taylor Swift, porn, and Facebook. He has developed original work at P.S. 122, Dixon Place, BAX, Ars Nova, La MaMa E.T.C., and the New Ohio Theater. He is a graduate of Brown University's Department of Theatre Arts and Performance Studies and a member of the 2012 EMERGENYC Cohort at NYU's Hemispheric Institute of Performance and Politics. http://notchristyler.com/
V1RG1N (am3r1c4) is a transgressively hyperactive re-performance of the 2003 MTV Video Music Awards opening starring Madonna and featuring Britney Spears, Christina Aguilera, and Missy "Misdemeanor" Elliot in a mashup of "Like a Virgin," "Hollywood," and "Work It."
With cyberdelic visuals and debauched drag, the performance hypertextually critiques the mainstream Gay movement's push for marriage "equality" and its complicity in capitalist modes of oppression. Overwhelming new media aesthetics are employed to disarm the audience and trouble its relationship to President Obama and his proclaimed "support" of the LGBTQ movement.
After all, how much progress can REALLY be achieved by fighting for inclusion within an implicitly heteronormative system that deems married beings more worthy of basics like health care and economic rights and exists almost exclusively to the benefit of white cisgendered people?
(MFA, Art Center College of Design 2008) is a Los Angeles-based artist whose work invites participants into spaces of conceptual painting. His video installations and paintings address contemporary power relations between physical reality and the click + drag mentality. Sheridan makes work (residencies in France, Finland, Brazil and USA), exhibits (USA, UK, France, Netherlands, Finland, India, Brazil, and Iran) and teaches (NYU/Tisch School of the Arts -- Manhattan + Singapore campuses -- SVA and Pratt Institute) globally. In 2012 Sheridan completed the La Napoule Art Foundation Spring Residency on the Cote d'Azur in France, received an ARC grant from the Center for Cultural Innovation for a San Diego exhibition, showed in the Downtown Film Festival -Los Angeles and participated in the Sacatar Foundation Fellowship artist residency program in Bahia, Brazil October 2012 courtesy of Los Angeles' Department of Cultural Affairs' Cultural Exchange International program grant.I Want to Break Free
(unveiled 1 day after Obama's election in 2008) was designed to make the American flag a barred cage during a time of what seemed like euphoric release. Inside at night, the window reflected viewers caught in a scrolling cage as gestalts of soldiers in fatigues catapulted themselves against red bars, creating impacts with exploding stars. In daytime this "videogame fresco" raged on in broad daylight in a hubristic attempt to "beat up the sun." In the context of two ongoing wars in Afghanistan and Iraq, the movement of this work reflected the strategies our government used to fight the wars: a) throw stuff up against the wall until something sticks and b) throw money we didn't have at the problem. I Want to Break Free
demonstrates battles against the self, where expectations and outcomes become a crushing ideological infinity loop when lessons learned are ignored.Michael MilliganMichael Milligan
is a performer who has been writing and acting for the theater for almost two decades. Milligan has appeared on the Broadway stage as Little Charles in August: Osage County, De Bries in La Bete, and as a 'raver' and understudy on Jerusalem. No stranger to the one man show, Milligan performed Will Eno's 'Thom Pain' in the original New York run taking over from James Urbaniak and T. Ryder Smith at the DR2. Other New York credits include The Golem with Robert Prosky, the world premiere of 'The Empty Ocean' with Harold Clurman Theater Lab, and 'Nightlands' with New Georges.
Milligan received his training from Juilliard where he won the John Houseman Prize for excellence in classical drama.
He has also appeared at many of the nation's top regional theaters including the Guthrie, Westport Country Playhouse, Charlotte Rep, The McCarter Theater, and Folger Theater in Washington D.C.Mercy Killers
-- Joe loves apple pie, Rush Limbaugh, the fourth of July and his wife Jane. He is blue-collar, corn-fed, made in the USA and proud, but when his uninsured wife is diagnosed with cancer his patriotic feelings and passion for the ethos of life, liberty and the pursuit of happiness are turned upside down. In Mercy Killers, a new one-man play, Joe struggles with the uniquely American experience of losing your health in the land of plenty.
Movement of the People Dance Company
Movement of the People Dance Company,
founded in 2005 by Joya T. Powell, is dedicated to unearthing historic and present sociocultural issues and addressing them through the healing elements of dance. The company is comprised of dancers from diverse multicultural backgrounds and international experiences. In the past six years MOPDC has performed in various celebrated dance festivals and venues including: Amnesty International's Human Rights Art Festival (Maryland), City Parks Dance, Huntington Arts Festival (Long Island), Dance New Amsterdam, The TANK, Evoke's Celebrate Dance Festival (San Diego), Riverside Theatre, The Outlet Dance Project (New Jersey), White Wave's COOL NY Dance Festival, WAXworks, and BAAD!. MOPDC partners with Free Arts NYC, providing workshops for under served inner city youth.
Taste the Rainbow --
Inspired by the Trayvon Martin case, this piece addresses racial stereotypes and preconceived prejudices. MOPDC's multicultural cast weaves in and out of emotions stemming from the case, including movement representations of the viral reactions people have included on the internet, as well as look to find humanity in our humanity.
is a performer, textile designer, and singer-songwriter from Bogota, Colombia. Featured New York performances include Re:Galli Blonde
by Justin Vivian Bond at The Kitchen and Puppy Love: A Stripper's Tail
by Erin Markey at P.S. 122. He has performed his original monologues and songs at various venues, including Pussy Faggot at Public Assembly; his debut cabaret show, Uplifting Songs
was featured in the HOT Festival at Dixon Place in 2012. Venegas was a member of the 2012 cohort of the EMERGENYC program of the Hemispheric Institute of Politics and Performance at NYU.
makes theatre/does feminism. Primarily a director, credits include work with EstroGenius Festival (Life on Mars
), Culture Project (Mind the Gap
), Variations Theatre Group (Without A Safety Net
), Primary Stages, Project Girl Performance Collective, Red Fern Theatre Company, The Internationalists, Planet Connections (Tulpa, or Anne&Me
), and others. As a performer, credits include Organs of State's Americana Passover
and original work at LaMaMa, P.S. 122, The Mobius Space (Boston), and more. Her work as a theatre educator has taken her to Mexico, South Africa, Brooklyn, and Staten Island. She is a member of the 2012 EMERGENYC cohort of performance-makers at NYU's Hemispheric Institute for Performance and Politics. Many thanks to Jesse and BAX. www.sara-lyons.com
MIND THE GAP
is a devised theatre piece that exposes the holes in the stories we hear in mainstream media about women's political, social, and bodily needs. The piece lifts text directly from major news media outlets, all quotations by men about women's health issues, and the performers (both women) deconstruct, twist, and blur the understanding of these statements by reordering and reappropriating them, and by constantly changing their gendered appearance. What does it mean to hear a woman versus a man deride Planned Parenthood, or a young black person versus a young white person? How does it change the meaning and impact of a statement, and whose personal and bodily experiences at the heart of issues like birth control and abortion regulation are being silenced? Who is speaking about whom? How can women recover their bodies and their autonomy from these rhetorical assaults?
after graduating from art school in Dublin, Ireland, moved to New York in 1987 where he continues to work on an ever-evolving project titled "screaMachine". ScreaMachine is realized in the form of installations, performances, audio and video works, films, digital media art and more. The work is by nature experimental; it pushes the boundaries of new media, experiential and time based art. Under the title of screaMachine, Dolan has shown internationally as well as extensively in the United States, with a particular interest in New York, including: Ireland, England, Austria, Yugoslavia, Canada, Brazil, India, Estonia and the USA. He has shown/performed at Franklin Furnace, PS1 Contemporary Art Museum, Art in General, The Kitchen, Moving Image Gallery, ArtHouse, ISCP, Storefront for Art & Architecture and many festivals. He has received awards from NYSCA, Experimental TV Center, Media the Foundation, C.A.S.E., NYFA, has lectured and been a visiting artist in many schools and has been Director of the Computer Studio at The Cooper Union of the Advancement of Science and Art since 2000, teaching many forms of digital media art production. He continues to work on back to back grant projects funded by the New York State Council on the Arts Film/Video and New Technologies Award, since 2002, developing new and innovative technology enhanced artworks that interact with the New York City public directly in the form of public interventions and performances. Known for his distinct B/W animations, projected media and political slant, Dolan mixes the world of art and politics on the city streets, remaining mostly outside of the pristine gallery system, inhabiting the underworld of art, the dark corners of the city. Most recently he has been working on a project titled "the 99%", animating footage he shot during many Occupy Wall Street protests and producing an ongoing series of shorts.
The 99% --
Using hand held footage and captured audio, from inside the Occupy Wall Street protest movement on many interventions on the streets of Manhattan, New York, screaMachine deconstructs the documentation of entire protest days and compresses them into time shifted semi-animated clips that place the viewer in the center of the action. Attention is focused on the protest signage, the chanting protesters, police sirens and commands, and the interaction between those forces against the background of the city landscape. The pixelated, jerky, harsh black-and-white clips reflect the low tech methodology and on-the-fly actions of the protesters. Hightened by the intense and passionate chanting of the protesters, intruded upon by police sirens and police vehicle beeping, The 99%
creates a sense of what it is like to be part of a movement exploding out of the underbelly of the beast. The 99%
is an ongoing series: there are 8 parts to dateShanté Paradigm
Shanté Paradigm Smalls
is a third-generation performer who uses song, rap, spoken word, and theatre in her artistic work. Currently in exile from Brooklyn in North Carolina, she works as a visiting assistant professor in the English department at Davidson College.
Smalls is a graduate of NYU's Performance Studies department, where she received a PhD. She is currently working on a scholarly book about hip hop, gender, sexuality, and race; an album, tentatively titled, Parapraxes
; and a book of experimental prose and poetry.
In 2013, Smalls will relocate to Albuquerque to teach at University of New Mexico in the American Studies department.
Hoping through Fear: Exchanges in Unreality
-- Through storytelling, archival work, image, song, rap, and movement, this work-in-progress tracks the fractures and fissures of collegiality, friendship, and politics within the US left (liberals, libertarians, leftists, communists, progressives, socialists, radicals, and others). Particularly focused on criticism of the Obama Administration's civil liberty infringements and war-making, Hoping through Fear: Exchanges in Unreality
explores the very problem of hope of a political, emotional, and organizing concept and hope's inherent relation to it's twin, fear.
Founded in 1991, BAX/Brooklyn Arts Exchange is a is a multi-faceted community performing arts center located in Park Slope, Brooklyn offering an annual presenting season, artist services, and educational programs for youth and adults. BAX receives support from city, state and national public and private foundations. Our programs have been featured in several Brooklyn, NYC, and national publications, celebrating our continued support of artists of all ages.
For more information about BAX and its programs please call 718-832-0018, email firstname.lastname@example.org or visit us on the web at www.bax.org.
Digital photos available upon request.