Tickets: $0-$25, pay what you can
Purchase Tickets

Fri, December 6 at 7 P.M.
Sat, December 7 at 7 P.M.

** Advance tickets for both nights of this program are sold out. An in-person wait list will open at 6:30 P.M.


CPR’s long-running Fall Movement program is an opportunity for artists to present new, fully-produced work in dance, performance, and time-based art in a shared program, curated by an independent panel of artists through an open call. Artists are encouraged to submit work with experimental approaches to content, form, and aesthetic, and which embrace risk-taking and the unexpected.

Five artists working across and between live art disciplines were selected to present their work: chameckilerner, Cal Fish, Marcelline Mandeng Nken, Alejandra Ramos, and Kat Sotelo.

The 2024 program was curated by a selection panel comprised of artists Ayano Elson, Nazareth Hassan, Kamikaze Jones, and Eleanor Kipping.

View the Program

PROGRAM

chameckilerner: Rosane & Andrea (work in progress)
Rosane & Andrea echoes chameckilerner’s artistic origins from the 1990s as a dynamic duo. Seventeen years after EXIT, a seminal piece exploring closure, Andrea Lerner and Rosane Chamecki embark on a journey of introspection and reinvention. This experimental dance documentary interweaves spoken word and choreography to delve into themes of intimacy, conflict, and the process and consequences of becoming a “we.”

Rosane & Andrea is an initial experiment, a work in progress, envisioned to evolve into a full-length evening performance.

Cal Fish: Pre-York River: Absorber Antenna
A solo performance exploring the body as absorber/container and antenna/conduit for sounds and memories, Pre-York River: Absorber Antenna is a series of carefully indexed choreographies enabled by sound sculptures that will share a collection of audio. The Dynamic Listening Instrument, FM radios and transmitters, and a towel with conductive thread to sense a body will be engaged by a score. Sonic fragments will echo NYC's intense flooding, offer visions of remediation, and share “watermark memories,” and deeply affective oral histories from Cal Fish’s interviewing practice. Using their body as a literal antenna and conduit, sharing site-specific body mapping of FM waves, electromagnetic fields, and zones of capacitive reactivity, movement and sound will be linked, sonic tasks will have choreographic consequences, and movements will have sonic repercussions.

Marcelline Mandeng Nken: Rush Hour Pt. 1
Rush Hour Pt. 1 is a movement phrase about the concept of liminality or the feeling of being "caught up in between." The main character is the vehicle of the train; themes of migration, displacement, and mobility are rest stops along the ride, offering reflections on the motives of colonialism. Journeying to a distant paradise or final frontier for enlightenment becomes a measure of conquest.  The performance considers the tension that emerges from shuttling through space and time before you reach the final destination through the lens of Black feminine literary imagination. Movements enacted within a miniature train set are abstractions of passages from Zora Neale Hurston's novel "Their Eyes Were Watching God" and Audre Lorde's poem "Women on Trains." Both texts build metaphors around the train motif to illustrate dynamic shifts in relationships and the weight of responsibilities that arise as the trip unfolds, from the mundane to the cosmic.

Alejandra Ramos: She Died in a Guatemalan Sinkhole
In 2006 Zoila Molina was murdered in her home in Guatemala City. Her daughter, Paula Molina, was an undocumented immigrant living in the US and could not return to see her mother's body before her burial. She lived over 10 years without ever seeing her mother or her grave. “Where is her body? I have not seen it,” Paula says, “She breathes beneath the earth, and it is our job to free her.” She Died in a Guatemalan Sinkhole is a docufiction performance lecture by Alejandra Ramos about the passing of her grandmother, Zoila Molina, and her relationship with Ramos' mother, Paula Molina. The performance utilizes small archived photo blocks to recreate a tangible sequence of a family’s life in Guatemala City. Through live-feed projection and fictional narration, audiences witness a testimony of a daughter in search of her mother's body.

Kat Sotelo: XOXO (FILIPINO FUTURISM)
XOXO (FILIPINO FUTURISM) is a new movement, a manifesto. What if Filipinos we were able to move beyond relegated roles of subordination and service? What if we manipulate these roles to our advantage? Assimilation and camouflage have been mechanics of our survival in America. This work investigates/restructures these systems to uplift our visibility; to simultaneously reconnect with pre-colonial indigenous practices and carry these into our vast imagined futures. Using the Peep Show as a performative container in this reclamation of power, Kat Sotelo simulates a kaleidoscope of identities in erotic exchange as a tribute to her vessel and its predecessors – the ways in which her ancestors have been perceived, used, exoticized, erased. XOXO also pinpoints schisms between the homeland and the diaspora, evident in the heated debate over Filipino vs. Filipinx. Synthesizing personal video archives with movement, set design, and folk traditions, the work bridges generational and geographical gaps with discourse, intimacy, and absurdist panache. 


ABOUT THE ARTISTS

chameckilerner is a 30-year collaboration between Rosane Chamecki and Andrea Lerner, an interdisciplinary duo working in the intersection of dance and time-based media. Their work has been presented by The Kitchen, The Chocolate Factory, Dance Theater Workshop, The Joyce, PS122, Central Park SummerStage, Portland Institute for Contemporary Art, Mass MoCA, Diverseworks, Jacob’s Pillow, and American Dance Festival. chameckilerner is the recipient of a Guggenheim Fellowship, a Foundation for Contemporary Arts Grants to Artists award, NEFA, NYFA, NYSCA, Jerome Foundation, and Rockefeller Map Fund, among others. Residencies include The Bogliasco Fellowship, Yaddo, The Rauschenberg Foundation, EMPAC, The Watermill Center, and Gibney’s Dance in Process Residency, among others.

Cal Fish is a cross-disciplinary artist from New York. Their work is multi-modal and immersive, often employing interactive sonic tools in soft and social sculpture. Cal performs regularly around NYC and has toured to share work all across North America and parts of Europe. Listening and archival practices, electromagnetic fields, flute, fm hijacking, songs, oral histories, up-cycled quilts, conductive thread, comfort objects, and magical kinesthetic tools combine to create environments for critical play, ecological awareness, and expanded perception. Graduating from Bard in 2018, Cal has since shared work at venues including Chaos Computer, Philadelphia Museum of Art, and Brooklyn Academy of Music. Currently Cal helps run the Living Gallery in Brooklyn where they regularly organize/host multimedia events, sews upcycled clothing in their home studio, and runs the phone line media label Call Waitn.

Born in Yaounde, Cameroon, Marcelline Mandeng Nken pairs curious objects with movement phrases to unpack dominant narrative structures and the societal conditions that produce them. Her practice is grounded in research, focusing on Greco-Egyptian mythologies and sociopolitical situations that address the semiotics of desire, ancestral knowledge systems as metadata, and the biological limits of human transfiguration. She recently completed her MFA from Yale School of Art and is a current Dance Research Fellow at the Jerome Robbins Dance Division of the New York Public Library.

Alejandra Ramos is a Guatemalan / Mexican artist focusing on personal familial-based collaboration. She values the practice of consistent communication between herself and her family abroad – creating spontaneous dialogues and new histories. She uses writing, video, and photography to translate her family’s narratives relating to loss, migration, and separation. Alejandra was born and raised between the suburbs of Lehi, UT, and the endless deserts of Tucson, AZ. She is an MFA candidate at The School of the Art Institute of Chicago and values the necessity of community within and beyond educational institutions. Due to the limitation of distance, much of her collaboration with relatives occurs over a phone call where stories are exchanged and recorded. Working in a way where live bodies are not present with voice only recalls how the artist's family has always lived. To be an immigrant means leaving behind one's home and community where seemingly mundane interactions are no longer possible. As such, Alejandra embraces the fragmentation of oral storytelling that is built through myth and imaginative truth.

Kat Sotelo is a 1st generation Filipino American performance artist who received her BFA in Interdisciplinary Sculpture with a Concentration in Video/Film from the Maryland Institute College of Art in 2009. Her performances manifest as dance, theatrical productions, and social experiments – all framing the absurdity of life and desperate need for human connection. For over a decade, Sotelo has been professionally employed in the film industry where she decorates sets and manufactures realities on a commercial scale. These skills have sharpened her cinematic approach to stage fabrication – fusing gesture, character tropes, and set pieces to build realms in the threshold of the ordinary and the extraordinary. Her current work focuses on decolonization from the perspective of a Filipino femme. Exploring her body as a means of currency in the American social landscape, she scrutinizes her relationship to “whiteness” through acts of deep humor and sorrow. Sotelo currently lives and works in Brooklyn.

Important note about visiting CPR:
CPR requires all visitors, artists, and staff to provide documentation of full vaccination against Covid-19 as well as a vaccine booster (if eligible), along with a photo ID, to enter CPR. For more information about booster eligibility, please visit the CDC's website. Masks must also be worn at all times inside CPR.

Tickets: $0-$25, pay what you can
Purchase Tickets

Fri, December 6 at 7 P.M.
Sat, December 7 at 7 P.M.

** Advance tickets for both nights of this program are sold out. An in-person wait list will open at 6:30 P.M.


CPR’s long-running Fall Movement program is an opportunity for artists to present new, fully-produced work in dance, performance, and time-based art in a shared program, curated by an independent panel of artists through an open call. Artists are encouraged to submit work with experimental approaches to content, form, and aesthetic, and which embrace risk-taking and the unexpected.

Five artists working across and between live art disciplines were selected to present their work: chameckilerner, Cal Fish, Marcelline Mandeng Nken, Alejandra Ramos, and Kat Sotelo.

The 2024 program was curated by a selection panel comprised of artists Ayano Elson, Nazareth Hassan, Kamikaze Jones, and Eleanor Kipping.

View the Program


PROGRAM

chameckilerner: Rosane & Andrea (work in progress)
Rosane & Andrea echoes chameckilerner’s artistic origins from the 1990s as a dynamic duo. Seventeen years after EXIT, a seminal piece exploring closure, Andrea Lerner and Rosane Chamecki embark on a journey of introspection and reinvention. This experimental dance documentary interweaves spoken word and choreography to delve into themes of intimacy, conflict, and the process and consequences of becoming a “we.”

Rosane & Andrea is an initial experiment, a work in progress, envisioned to evolve into a full-length evening performance.

Cal Fish: Pre-York River: Absorber Antenna
A solo performance exploring the body as absorber/container and antenna/conduit for sounds and memories, Pre-York River: Absorber Antenna is a series of carefully indexed choreographies enabled by sound sculptures that will share a collection of audio. The Dynamic Listening Instrument, FM radios and transmitters, and a towel with conductive thread to sense a body will be engaged by a score. Sonic fragments will echo NYC's intense flooding, offer visions of remediation, and share “watermark memories,” and deeply affective oral histories from Cal Fish’s interviewing practice. Using their body as a literal antenna and conduit, sharing site-specific body mapping of FM waves, electromagnetic fields, and zones of capacitive reactivity, movement and sound will be linked, sonic tasks will have choreographic consequences, and movements will have sonic repercussions.

Marcelline Mandeng Nken: Rush Hour Pt. 1
Rush Hour Pt. 1 is a movement phrase about the concept of liminality or the feeling of being "caught up in between." The main character is the vehicle of the train; themes of migration, displacement, and mobility are rest stops along the ride, offering reflections on the motives of colonialism. Journeying to a distant paradise or final frontier for enlightenment becomes a measure of conquest.  The performance considers the tension that emerges from shuttling through space and time before you reach the final destination through the lens of Black feminine literary imagination. Movements enacted within a miniature train set are abstractions of passages from Zora Neale Hurston's novel "Their Eyes Were Watching God" and Audre Lorde's poem "Women on Trains." Both texts build metaphors around the train motif to illustrate dynamic shifts in relationships and the weight of responsibilities that arise as the trip unfolds, from the mundane to the cosmic.

Alejandra Ramos: She Died in a Guatemalan Sinkhole
In 2006 Zoila Molina was murdered in her home in Guatemala City. Her daughter, Paula Molina, was an undocumented immigrant living in the US and could not return to see her mother's body before her burial. She lived over 10 years without ever seeing her mother or her grave. “Where is her body? I have not seen it,” Paula says, “She breathes beneath the earth, and it is our job to free her.” She Died in a Guatemalan Sinkhole is a docufiction performance lecture by Alejandra Ramos about the passing of her grandmother, Zoila Molina, and her relationship with Ramos' mother, Paula Molina. The performance utilizes small archived photo blocks to recreate a tangible sequence of a family’s life in Guatemala City. Through live-feed projection and fictional narration, audiences witness a testimony of a daughter in search of her mother's body.

Kat Sotelo: XOXO (FILIPINO FUTURISM)
XOXO (FILIPINO FUTURISM) is a new movement, a manifesto. What if Filipinos we were able to move beyond relegated roles of subordination and service? What if we manipulate these roles to our advantage? Assimilation and camouflage have been mechanics of our survival in America. This work investigates/restructures these systems to uplift our visibility; to simultaneously reconnect with pre-colonial indigenous practices and carry these into our vast imagined futures. Using the Peep Show as a performative container in this reclamation of power, Kat Sotelo simulates a kaleidoscope of identities in erotic exchange as a tribute to her vessel and its predecessors – the ways in which her ancestors have been perceived, used, exoticized, erased. XOXO also pinpoints schisms between the homeland and the diaspora, evident in the heated debate over Filipino vs. Filipinx. Synthesizing personal video archives with movement, set design, and folk traditions, the work bridges generational and geographical gaps with discourse, intimacy, and absurdist panache. 


ABOUT THE ARTISTS

chameckilerner is a 30-year collaboration between Rosane Chamecki and Andrea Lerner, an interdisciplinary duo working in the intersection of dance and time-based media. Their work has been presented by The Kitchen, The Chocolate Factory, Dance Theater Workshop, The Joyce, PS122, Central Park SummerStage, Portland Institute for Contemporary Art, Mass MoCA, Diverseworks, Jacob’s Pillow, and American Dance Festival. chameckilerner is the recipient of a Guggenheim Fellowship, a Foundation for Contemporary Arts Grants to Artists award, NEFA, NYFA, NYSCA, Jerome Foundation, and Rockefeller Map Fund, among others. Residencies include The Bogliasco Fellowship, Yaddo, The Rauschenberg Foundation, EMPAC, The Watermill Center, and Gibney’s Dance in Process Residency, among others.

Cal Fish is a cross-disciplinary artist from New York. Their work is multi-modal and immersive, often employing interactive sonic tools in soft and social sculpture. Cal performs regularly around NYC and has toured to share work all across North America and parts of Europe. Listening and archival practices, electromagnetic fields, flute, fm hijacking, songs, oral histories, up-cycled quilts, conductive thread, comfort objects, and magical kinesthetic tools combine to create environments for critical play, ecological awareness, and expanded perception. Graduating from Bard in 2018, Cal has since shared work at venues including Chaos Computer, Philadelphia Museum of Art, and Brooklyn Academy of Music. Currently Cal helps run the Living Gallery in Brooklyn where they regularly organize/host multimedia events, sews upcycled clothing in their home studio, and runs the phone line media label Call Waitn.

Born in Yaounde, Cameroon, Marcelline Mandeng Nken pairs curious objects with movement phrases to unpack dominant narrative structures and the societal conditions that produce them. Her practice is grounded in research, focusing on Greco-Egyptian mythologies and sociopolitical situations that address the semiotics of desire, ancestral knowledge systems as metadata, and the biological limits of human transfiguration. She recently completed her MFA from Yale School of Art and is a current Dance Research Fellow at the Jerome Robbins Dance Division of the New York Public Library.

Alejandra Ramos is a Guatemalan / Mexican artist focusing on personal familial-based collaboration. She values the practice of consistent communication between herself and her family abroad – creating spontaneous dialogues and new histories. She uses writing, video, and photography to translate her family’s narratives relating to loss, migration, and separation. Alejandra was born and raised between the suburbs of Lehi, UT, and the endless deserts of Tucson, AZ. She is an MFA candidate at The School of the Art Institute of Chicago and values the necessity of community within and beyond educational institutions. Due to the limitation of distance, much of her collaboration with relatives occurs over a phone call where stories are exchanged and recorded. Working in a way where live bodies are not present with voice only recalls how the artist's family has always lived. To be an immigrant means leaving behind one's home and community where seemingly mundane interactions are no longer possible. As such, Alejandra embraces the fragmentation of oral storytelling that is built through myth and imaginative truth.

Kat Sotelo is a 1st generation Filipino American performance artist who received her BFA in Interdisciplinary Sculpture with a Concentration in Video/Film from the Maryland Institute College of Art in 2009. Her performances manifest as dance, theatrical productions, and social experiments – all framing the absurdity of life and desperate need for human connection. For over a decade, Sotelo has been professionally employed in the film industry where she decorates sets and manufactures realities on a commercial scale. These skills have sharpened her cinematic approach to stage fabrication – fusing gesture, character tropes, and set pieces to build realms in the threshold of the ordinary and the extraordinary. Her current work focuses on decolonization from the perspective of a Filipino femme. Exploring her body as a means of currency in the American social landscape, she scrutinizes her relationship to “whiteness” through acts of deep humor and sorrow. Sotelo currently lives and works in Brooklyn.

CPR - Center for Performance Research invites proposals for live performance works to be presented as part of Fall Movement on December 6 and 7, 2024.

Click here to apply.

Application deadline:
Tuesday, June 18 at 5:00 PM EST.

Please email applications@cprnyc.org with any questions.

Fall Movement is an opportunity for artists to present new work in dance, performance, and time-based art in a shared program, and is curated by an independent panel of artists through an Open Call. The program will be presented at CPR on December 6 and 7, 2024 at 7:00 PM.

Individual artists, collectives, and companies may propose a live performance work that is 15-20 minutes in length. CPR encourages applicants to submit work with experimental approaches to content, form, and aesthetic, and values risk-taking and the unexpected.

CPR is committed to supporting artists from every background, at various stages of their artistic careers, and across generations, and maintains an expansive approach to performance. We strongly encourage BIPOC artists, LGBTQ+ artists, immigrant artists, and artists with disabilities to apply.

Please be sure to read through the program details and application criteria in its entirety before submitting your application. We strongly recommend drafting narrative responses in a separate document. 

PROGRAM DETAILS
Fall Movement will take place at CPR on Friday, December 6 and Saturday, December 7, 2024 at 7:00 PM. Five works will be selected and presented on both evenings. Each selected work will receive a 2-hour technical rehearsal with CPR production staff, 2 hours of complimentary rehearsal time in one of CPR's studios (based on availability), and an honorarium of $350.

ELIGIBILITY

• Individual artists, collectives, or companies may apply, but each applicant/application will be considered as a unique project, and will receive a single honorarium of $350.

• While Fall Movement is not limited to NYC-based artists, CPR cannot provide US visas, travel, accommodations, or other living expenses in connection with the presentation.

• Current undergraduate students are not eligible to apply.

• Artists who have been presented in Fall Movement or Spring Movement at CPR within the last 5 five years may not apply.

THE SPACE
CPR's theater (also known as the Large Studio) has white walls and a sprung wooden floor covered by white marley, with a playing space that is 45 ft wide by 26 ft deep, and is outfitted with an LED theatrical lighting system, full-range sound, and projection capabilities. The house seats up to 65 people. We are open to unique ways of using CPR's space and a variety of formats, including proposals for the Small Studio/Storefront Gallery (45 ft x 15 ft) for installation-based work, which would override the 15-20 minute length requirement. CPR is a fully ADA-compliant and accessible venue with two all gender restrooms and one wheelchair-accessible restroom. A floor plan, images, and technical specifications can be found at www.cprnyc.org/spaces.

APPLICATION TIMELINE
Applications will be accepted until Tuesday, June 18, 2024 at 5:00pm EST.

We expect to send notifications in August 2024 and to announce the program in September 2024 along with the announcement of CPR's 2024 Fall Season

Please email applications@cprnyc.org with any questions. The panel looks forward to reviewing your application!

Tickets $0-$25, pay what you can
Purchase Tickets


Episode 1: Fri, June 14 at 7 P.M.
feat. Candice Hoyes, Kamikaze Jones with geo blake, and Autumn Knight

Episode 2: Sat, June 15 at 7 P.M.
feat. Alicia Grullón, Kat Sotelo, and Martha Wilson


For CPR's annual Spring Movement, Ayana Evans curates Giving You the Best That We Got: The Ayana & Tsedaye Variety Show (with Tsedaye on Video). This talk show-style performance extravaganza will be like Oprah meets Miami Vice… but more neon! In previous iterations collaborator and co-creator Tsedaye Makonnen was involved as a co-host and curator; this time Makonnen will be our video correspondent.

The Variety Show at CPR – filmed before a live studio audience! – will feature live performances by artists working at the intersection of performance and visual art across two unique episodes, featuring Candice Hoyes, and Kamikaze Jones with geo blake, and Autumn Knight on Friday night’s episode and Alicia Grullón, Kat Sotelo and Martha Wilson on Saturday night’s episode. Get ready for commercial and yawn breaks, shag carpeting, and emotional sit-and-talks with everyone’s favorite performance artists!

In addition to the live Variety Show, the Premier American Performance Art Museum (PAPAM), founded by Esther Neff in 2024, will be on view in CPR’s Storefront Gallery beginning at 6pm each night. Works on view will include relics and ephemera by Marcelline Mandeng Nken, Dominique Duroseau, and more artists to be announced.

View the Program: Episode 2


ABOUT THE ARTISTS

Ayana Evans is a NYC-based performance artist. Her guerilla-style performances have been staged at El Museo del Barrio, The Barnes Foundation, The Bronx Museum, Crystal Bridges Museum, Newark Museum, Queens Museum and a variety of free public  locations. Her performances have been reviewed in The New York Times, Bomb Magazine, ArtNet, Hyperallergic, and New York Magazine's The Cut. She was a 2017-18 awardee of the Franklin Furnace Fund for performance, 2018 New York Foundation of the Arts (NYFA) Fellow for Interdisciplinary Arts, 2021-22 Jerome Hill Artist Fellow, 2021-22 Professor of the Practice at Brown University, and 2022 Chamberlain Award winner at Headlands Art Center. Her past residencies include Yaddo, Skowhegan School of Painting & Sculpture, Vermont Studio Center, and Robert Blackburn Printmaking Workshop. Evans' current projects include an upcoming performance and class visit at Wellesley College as part of the Taking Off the White Gloves showcasing the work of Lorraine O’Grady and the development of a arts focused career fair that  has welcomed over 200 formerly incarcerated individuals and transformed the job hunting space into a fun environment. Evans is currently a professor at Fordham College and NYU.


This program is made possible, in part, by a Late Stage Stipend from the Mertz Gilmore Foundation.

Tickets $0-$25, pay what you can
Purchase Tickets


Episode 1: Fri, June 14 at 7 P.M.
feat. Candice Hoyes, Kamikaze Jones with geo blake, and Autumn Knight

Episode 2: Sat, June 15 at 7 P.M.
feat. Alicia Grullón, Kat Sotelo, and Martha Wilson


For CPR's annual Spring Movement, Ayana Evans curates Giving You the Best That We Got: The Ayana & Tsedaye Variety Show (with Tsedaye on Video). This talk show-style performance extravaganza will be like Oprah meets Miami Vice… but more neon! In previous iterations collaborator and co-creator Tsedaye Makonnen was involved as a co-host and curator; this time Makonnen will be our video correspondent.

The Variety Show at CPR – filmed before a live studio audience! – will feature live performances by artists working at the intersection of performance and visual art across two unique episodes, featuring Candice Hoyes, and Kamikaze Jones with geo blake, and Autumn Knight on Friday night’s episode and Alicia Grullón, Kat Sotelo and Martha Wilson on Saturday night’s episode. Get ready for commercial and yawn breaks, shag carpeting, and emotional sit-and-talks with everyone’s favorite performance artists!

In addition to the live Variety Show, the Premier American Performance Art Museum (PAPAM), founded by Esther Neff in 2024, will be on view in CPR’s Storefront Gallery beginning at 6pm each night. Works on view will include relics and ephemera by Marcelline Mandeng Nken, Dominique Duroseau, and more artists to be announced.

View the Program: Episode 1


ABOUT THE ARTISTS

Ayana Evans is a NYC-based performance artist. Her guerilla-style performances have been staged at El Museo del Barrio, The Barnes Foundation, The Bronx Museum, Crystal Bridges Museum, Newark Museum, Queens Museum and a variety of free public  locations. Her performances have been reviewed in The New York Times, Bomb Magazine, ArtNet, Hyperallergic, and New York Magazine's The Cut. She was a 2017-18 awardee of the Franklin Furnace Fund for performance, 2018 New York Foundation of the Arts (NYFA) Fellow for Interdisciplinary Arts, 2021-22 Jerome Hill Artist Fellow, 2021-22 Professor of the Practice at Brown University, and 2022 Chamberlain Award winner at Headlands Art Center. Her past residencies include Yaddo, Skowhegan School of Painting & Sculpture, Vermont Studio Center, and Robert Blackburn Printmaking Workshop. Evans' current projects include an upcoming performance and class visit at Wellesley College as part of the Taking Off the White Gloves showcasing the work of Lorraine O’Grady and the development of a arts focused career fair that  has welcomed over 200 formerly incarcerated individuals and transformed the job hunting space into a fun environment. Evans is currently a professor at Fordham College and NYU.


This program is made possible, in part, by a Late Stage Stipend from the Mertz Gilmore Foundation.

Tickets: $0-$25, pay what you can
Purchase Tickets


Friday, December 1 at 7:00 P.M.
Saturday, December 2 at 7:00 P.M.


CPR’s long-running Fall Movement program is an opportunity for artists to present new, fully-produced work in dance, performance, and time-based art in a shared program, curated by an independent panel of artists through an open call. Artists are encouraged to submit work with experimental approaches to content, form, and aesthetic, and which embrace risk-taking and the unexpected.

Five artists and collaborations working across and between live art disciplines were selected to present their work: Juli Brandano, ALEXA GRÆ and Stephanie Acosta, Dominica Greene, Nazareth Hassan / Paratheater, and Cherrie Yu.

The 2023 program was curated by a selection panel comprised of artists Lauren Bakst, Doménica García, and Jordan Demetrius Lloyd.

View the Program

PROGRAM

Juli Brandano: Wet Material (for CPR)
Wet Material (for CPR) is a dance made for CPR's Large Studio and emerged in the wake of choreographic research done on site at Rockaway Beach. Its dancers move across multiple timescales and rhythms, devised from studying tide charts, work/break schedules, Éliane Radigue's score (Épure), the sculptural tradition of wet drapery, and several other musical and embodied rhythmic influences. Developed in collaboration with dancers Julia Antinozzi, Leah Fournier, and Amelia Heintzelman with sound by Éliane Radigue.

ALEXA GRÆ and Stephanie Acosta: COLLUSIONS OF GRANDEUR – transfiguration
COLLUSIONS OF GRANDEUR - transfiguration is an electronic opera in the form of dazzling soliloquy, performed by ALEXA GRÆ and directed by Stephanie Acosta. The work features new soundscapes, movement, poetry, and rituals sparked out of necessity for self preservation, with source material assembled through snapshots from a quarantine and uprising that brought intelligences rooted in blackness, trans-queer identity, neurodiversity, and magic to the fore. Drawing from the traditions of operatic madness, cosmic spirituality, queer raves, solitude, the body intellect, and the building of self, as artistic practice, vocalized joy poems bend genre and arias of longing serve as musical anchors. Paired with house music they conjure meditative states and access portals to the dream realm, arranging these moments into many revolutions.

Dominica Greene: no training required
no training required is an improvisational performance constructed around the theory that every living body is a body that is already dancing. The work is entirely dependent upon the audience – every attendee will receive a printed list of tasks which Dominica Greene has predetermined and consented to, ranging from directives like “spin” and “bend backwards” to “do a duet” and “pee into a bucket.” After a timer and recording device are set, Greene will begin to improvise while the audience can call out any of the provided directives. In a second round, Greene will re-perform the work from the recording, and the choreographers (audience) may make alterations to the first draft in real time. After a final review of the work, Greene will perform the finished choreography to a piece of music voted on by the audience.

Nazareth Hassan / Paratheater: Slow Mania 009
Slow Mania 009 explores the architecture of love, its disillusionment, idle bodies, and coonery. Created in collaboration with filmmaker Alexander Mejía.

Cherrie Yu: Verb List
Verb List started as a found-footage project that collects movements from Chinese and Chinese-diasporic moving image history. The title references the American sculptor Richard Serra's 1967 drawing, and the work borrows from Serra’s structure of words and actions. Treating the history of moving image as raw material, Cherrie Yu creates a movement archive from Chinese and diasporic communities, and explores cinematic history as collective memory. The performance-lecture will weave the essay-film, personal writing, and live dance, informed by Yu’s training as a dancer working with postmodern archives and choreographers, as well as from their migrant experience as a Chinese artist living in the US. The project asks: what are the ontological implications to be surrounded by movements and actions of people who look like oneself?


ABOUT THE ARTISTS

Juli Brandano is a dancer and choreographer based in Brooklyn, NY. She has collaborated as a dancer with Phoebe Berglund, Jessica Cook, Ayano Elson, Amelia Heintzelman, Leah Fournier, Julia Antinozzi, and Cally Spooner, among others. She was a 2020 Lighthouse Works Fellow and a 2022 Dance Research Fellow at the New York Public Library’s Jerome Robbins Dance Division during the theme of Dance and Ecology. Her choreographic work has been shown previously at Performance Mix Festival, fouroneone, Movement Research at Judson Church, the Westbeth Courtyard, Pageant, and BAX.

ALEXA GRÆ is an interdisciplinary artist focusing on how art informs identities, socialization habits, self-expression, and the ability to create – creating genre-defying performances that incorporate theatrical personas and experimental storytelling. In January 2023 they performed at Out-FRONT! Fest with Pioneers Go East Collective, and shared a work-in-progress of COLLUSIONS OF GRANDEUR - transfiguration. As a sound and performance artist they have worked with Stephanie Acosta, Isaac Pool, Jessie Young, and Same As Sister. ALEXA released their first studio song cycle, SEEN, accompanied by Sur La Nuit, an operatic/electronic music video by Matthew Ozawa & Jon Wes that premiered at The Art Institute of Chicago with Open Television; and they composed the score for the short film Searching for Isabelle  by Stephanie Jeter. They have performed with Haymarket Opera Company, Madison Opera, and Elements Contemporary Ballet, and have been a featured soloist/artist with Chicago Arts Orchestra, The Savannah Philharmonic, Northwestern University Orchestra, The Orchestra of New Spain, Texas Tech University Symphony Orchestra, The Violet Hour, The Fly Honey Show, and Big Spring Symphony.

Stephanie Acosta is an interdisciplinary artist, writer, curator and organizer who places the materiality of the ephemeral at the center of her practice, questioning meaning-making and manufactured limitations. Blending performance with practice-based and studio research and engaging ensembles in facilitated processes, they create fleeting performance works that examine perception in shared experiences. Acosta has presented her works with and for Museum of Art and Design, MCA Chicago, The Chocolate Factory, Knockdown Center, Current Sessions, Miami Performance International Festival, IN>Time Symposium, Abrons Arts Center, the Chicago Park District, the Performance Philosophy conference, and AUNTS. Acosta has collaborated with artist Miguel Gutierrez on multiple projects, and their collaborative curatorial experiment with Alexis Wilkinson, Sunday Service, ran for six seasons at Knockdown Center. Recently, Acosta opened Good Day God Damn, a solo exhibition curated by Alexis Wilkinson at The Chocolate Factory Theater, and a talk show, Apocalypse Talks, in which they spoke with artists on themes of multi-crisis making and radical hope found in art practices.

Dominica Greene is a bi-racial Black woman who cherishes and channels her Caribbean heritage and Queerness into an art-based existence. A dance artist, she has collaborated and performed nationally and internationally with many notable choreographers and companies. Based on the unceded lands of the Munsee Lenape people, Greene creates conceptual, body-based art rooted in her belief that dance is not something to be learned, but an innate entity that we all have access to and are perpetually engaging with. Weaving her core research practices of duration, somatics, raving, and ancestral channeling, her work aims to reflect nature, human and otherwise, as a way of highlighting humanity and the stark sameness and differences – and sameness in the differences – within all of us.

Nazareth Hassan / Paratheater is an interdisciplinary artist working in performance, writing, music, video, and photography. Recent performance works include Untitled (1-5) at The Shed (text published by 3 Hole Press), VANTABLACK at Theatretreffen Stuckemarkt in Berlin, and Memory A at Museo Universitario del Arte Contemporáneo in Mexico City. They have released 4 singles, available on all platforms; and their first collection of poetry and photography, Slow Mania, will be published in 2025 by Futurepoem. They are a 2023-25 Jerome Hill Artist Fellow.

Alexander Mejía (Nazareth Hassan / Paratheater collaborator) is a writer, director and interdisciplinary artist based in Brooklyn. Their work has premiered at BAMCinematek, New World Symphony as part of Miami Art Basel, NewFest, Inside Out Toronto and Schauspiel Dortmund. Mejía currently works as the video producer at Pioneer Works. 

Cherrie Yu is an artist born in Xi'an, China, currently living in the US. She works in choreography, moving image, writing, and installation. She has been an artist in residence at ACRE, McColl Center, Yaddo, Monson Art, Kala Art Institute, and Sharpe Walentas Studio Program. Her works have been exhibited at Contemporary Calgary Museum, the Museum of Contemporary Photography, Mint Museum, Links Hall, Wassaic Project, Roman Susan Gallery, PAGEANT, and Judson Memorial Church. 


ABOUT THE PANELISTS

Lauren Bakst is an artist, writer, and scholar working through experimental performance. Lauren organizes and curates The School for Temporary Liveness, a para-site for collective study and experiments in performance, practice, and pedagogy. She is a PhD candidate in English at the University of Pennsylvania.

Doménica García is an Ecuadorian multidisciplinary artist based in New York. Her work delves into a process of introspection, exploring the personal and discovering the universal. With the use of a hyperbolic language and the juxtaposition of the radical with the ordinary, she gives greater relevance to the day-to-day experience. García’s multimedia approach, particularly merging performance and digital art, allows her to manipulate the perception of reality, facilitating a fantastic and surreal experience within the rational world. García’s work has been shown in the Atlanta Film Festival; San Diego Latino Film Festival; Queens Museum, New York; Museum of the Moving Image, New York; Institute of Contemporary Art Boston; Centro de Arte Contemporáneo de Quito, Ecuador; Microscope Gallery, New York; CPR – Center for Performance Research, New York; and Granoff Center for the Creative Arts, Providence, RI. García earned a BFA from the School of Visual Arts and is currently pursuing an MFA at Columbia University.

Jordan Demetrius Lloyd is a Bessie-nominated choreographer and performer based in Brooklyn, NY. He graduated from The College at Brockport and grew up in Albany, NY. He has collaborated with and performed for Beth Gill, Netta Yerushalmy, Tere O’Connor, Monica Bill Barnes, David Dorfman Dance, and more. His work has been produced by Danspace Project, New York Live Arts, ISSUE Project Room, BRIC, CPR – Center for Performance Research, and more. His teaching practice has brought him to the American Dance Festival, University of the Arts, Rutgers University, and Sarah Lawrence College. He was recently listed on Dance Magazine's 2023 '25 to Watch' list. He loves chocolate, sunsets, and his favorite color is green.

Important note about visiting CPR:
CPR requires all visitors, artists, and staff to provide documentation of full vaccination against Covid-19 as well as a vaccine booster (if eligible), along with a photo ID, to enter CPR. For more information about booster eligibility, please visit the CDC's website. Masks must also be worn at all times inside CPR.

CPR - Center for Performance Research invites proposals for live performance works to be presented as part of Fall Movement on December 1 and 2, 2023.

Click here to apply.

Application deadline:
Tuesday, May 30 at 5:00 PM EST.

Email applications@cprnyc.org with any questions.

CPR’s Fall Movement is an opportunity for artists to present new work in dance, performance, and time-based art in a shared program, and is curated by an independent panel of artists through an open call. The program will be presented at CPR on December 1 and 2, 2023 at 7:00 PM.

Individual artists, collectives, and companies may propose a live performance work that is 15-20 minutes in length. CPR encourages applicants to submit work with experimental approaches to content, form, and aesthetic, and values risk-taking and the unexpected.

CPR is committed to supporting artists from every background, at various stages of their artistic careers, and across generations, and maintains an expansive approach to performance. We strongly encourage BIPOC artists, LGBTQ+ artists, immigrant artists, and artists with disabilities to apply.

Please be sure to read through the program details and application criteria in its entirety before submitting your application. We strongly recommend drafting narrative responses in a separate document. 

PROGRAM DETAILS
Fall Movement will take place at CPR on Friday, December 1 and Saturday, December 2, 2023 at 7:00 PM. Five works will be selected and presented on both evenings. Each selected work will receive a 2-hour technical rehearsal with CPR production staff, 2 hours of complimentary rehearsal time in one of CPR's studios (based on availability), and an honorarium of $350.

ELIGIBILITY

• Individual artists, collectives, or companies may apply, but each applicant/application will be considered as a unique project, and will receive a single honorarium of $350.

• While Fall Movement is not limited to NYC-based artists, CPR cannot provide US visas, travel, accommodations, or other living expenses in connection with the presentation.

• Current undergraduate students are not eligible to apply.

• Artists who have been presented in Fall Movement or Spring Movement at CPR within the last 5 five years may not apply.

THE SPACE
CPR's theater (also known as the Large Studio) has white walls and a sprung wooden floor covered by white marley, with a playing space that is 45 ft wide by 26 ft deep, and is outfitted with an LED theatrical lighting system, full-range sound, and projection capabilities. The house seats up to 60 people. We are open to unique ways of using CPR's space, including proposals for the Small Studio/Storefront Gallery (45 ft x 15 ft) for installation-based work, which would override the 15-20 minute length requirement. CPR is a fully ADA-compliant and accessible venue with two all gender restrooms and one wheelchair-accessible restroom. A floor plan, images, and technical specifications can be found at www.cprnyc.org/spaces.

APPLICATION TIMELINE
Applications will be accepted until Tuesday, May 30, 2023 at 5:00pm EST.

We expect to send notifications in early summer 2023 and to announce the program in late summer 2023 along with the announcement of CPR's 2023 Fall Season.

Please email applications@cprnyc.org with any questions. The panel looks forward to reviewing your application!

Tickets: $0-$25, pay what you can
Purchase tickets

*advance tickets for this performance are currently sold out. an in-person wait list will open at 2:30 PM.


noposition nolocation is a text-based movement piece including three performers who articulate queer surrealism through kaleidoscopic combinations of sound, body, and language. Through visual tableaus that integrate written absurdist non-sequiturs with symbolic performative gestures, Barnett Cohen, a queer artist who shapeshifts between poet, performance maker, painter, and activist, creates experiential constellations of voice and movement that highlight the persistence of anxious forces, neurotic tendencies, and unremitting violence within dominant ideologies.

Originally curated as part of CPR’s Fall Movement in 2022, but canceled due to Covid-19, Cohen will present an expanded version of the work as it has evolved since December. A chapbook of the text created in connection with the work will be available at the performance.

This project was supported, in part, by a Foundation for Contemporary Arts Emergency Grant.


Please join us for a toast and light refreshments after the performance in celebration of CPR’s 2023 Spring Season opening! Wine provided by Vine Wine and snacks by chef James Bailey.

Tickets: $0-$25, pay what you can
Purchase tickets

In the event that advance tickets are sold out, an in-person waitlist will open at 7:00pm each night at the box office, and tickets will be released on a first come, first served basis.

PROGRAM UPDATE
Unfortunately, Barnett Cohen’s noposition nolocation will no longer be performed as part of the Fall Movement program.

View the Program

Fall Movement is part of CPR’s bi-annual festival of new work, with Spring Movement, that presents new work in dance, performance, and time-based art in a shared program. The program is curated by an independent review panel of artists and community stakeholders after an open call for proposals.

Six artists working across and between live art disciplines have been selected to present their work: Karen Bernard, Barnett Cohen, Cayleen Del Rosario, Muyassar Kurdi, Estrellx Supernova, and Blake Worthey.

The 2022 Fall Movement artists were selected by Julie Mayo, benedict nguyễn, and jess pretty.

Before and after the performances, an exhibition featuring artworks and performance ephemera from Fall Movement artists will be on view in CPR's Storefront Gallery.


Karen Bernard
Device Not Detected

Device Not Detected is a two-part performance work combining visual art and minimalist movement to explore the feminine mystique and aging. A commentary on the ways we perceive aging and its limitations, the piece incorporates humor, costume, music, and projection to explore darker themes of aging, uncertainty, and death–all with a touch so light it caresses. In Part One, Karen Bernard, at age 73, is both performer and choreographer, using self-manipulated lighting and projection elements to create a space where gestures of collapse and struggle are juxtaposed with fluid and playful movement. Part Two, created under the direction of choreographer and performer Lisa Parra, echoes Part One and uses spare, stark lighting to create a cinematic moving sculpture.

[CANCELLED] Barnett Cohen
noposition nolocation

no position no location is a text-based movement piece including four performers who articulate queer surrealism through kaleidoscopic combinations of sound, body, and language. Through visual tableaus that integrate written absurdist non-sequiturs with symbolic performative gestures, Barnett Cohen, a queer artist who shapeshifts between poet, performance maker, painter, and activist, creates experiential constellations of voice and movement that highlight the persistence of anxious forces, neurotic tendencies, and unremitting violence within dominant ideologies.

Cayleen Del Rosario
Annihilation

Second in a series of triangulation studies, Annihilation is a collaborative group performance that explores a duet turned trio. Two dance in an oceanic union, mother and child/ kin to kin/ self with double, and when a third entity appears, a new symbolic order is established as the dyad breaks. Drawing from Lacan’s idea of gaps in meaning when faced with that which is unable to be symbolized, the movement, form, and meaning shift subtly and drastically as the performers and audience navigate the unstable field of dynamics, rhythms, memory, thought, textures, feelings.

Muyassar Kurdi
From the River to the Sea

From the River to the Sea is a cinematic and embodied interdisciplinary sound performance ruminating on: migration, memory, and home through the lens of a Palestinian refugee. The work explores the cinematic elements and aims to connect the modalities of sound, movement, and image while addressing issues surrounding displacement and colonialism. An interdisciplinary artist whose work encompasses sound art, extended vocal technique, performance art, movement, analog photography and film, Muyassar Kurdi continues her research on healing through movement and deepens her understanding of its relationship to memory and intergenerational trauma. As a first generation Palestinian refugee, Kurdi remains interested in themes such as migration and the idea of “home” and, through the lens of an indigeneity, expresses vulnerability, connection, and community healing.

Estrellx Supernova
Real Talk #2: confessions of a stone whore / VERSE

Real Talk #2: confessions of a stone whore / VERSE seeks to unpack Estrellx Supernova’s intimacy archives in service of engendering alternative subjectivities of eroticism that introduce new channels for accessing pleasure and that decentralize penetrative sex. Real Talk #2 is activated through physicality that implements club dancing, improvisational scores, repetitive gestures, and sad-bro grief songs that aim to unify their pelvic floor with their heart and throat. This work is an embodied testimonial that moves between a healing circle, performance ritual, and collective celebration.

Blake Worthey
please don't be here when I get back

please don't be here when I get back is a piece of scripted dance-theater that explores the cosmology of a just God in a world where much ambient and abject violence is present. The work is developed using Blake Worthey’s newly developed theater language – Non-Quotidian Theater – and questions the entirety of European theater aesthetic. Set in a HR department in Hell, the work uses the form of a monologue of tragicomedy to bring these violences into sharp relief and to demonstrate an escape from stories that allow socialized violence to precipitate.

Important note about visiting CPR:
CPR requires all visitors, artists, and staff to provide documentation of full vaccination against Covid-19 as well as a vaccine booster (if eligible), along with a photo ID, to enter CPR. For more information about booster eligibility, please visit the CDC's website. Masks must also be worn at all times inside CPR.

Tickets: $0-$25, pay what you can
Purchase tickets

In the event that advance tickets are sold out, an in-person waitlist will open at 7:00pm each night at the box office, and tickets will be released on a first come, first served basis.

PROGRAM UPDATE
Unfortunately, Barnett Cohen’s noposition nolocation will no longer be performed as part of the Fall Movement program.

View the Program

Fall Movement is part of CPR’s bi-annual festival of new work, with Spring Movement, that presents new work in dance, performance, and time-based art in a shared program. The program is curated by an independent review panel of artists and community stakeholders after an open call for proposals.

Six artists working across and between live art disciplines have been selected to present their work: Karen Bernard, Barnett Cohen, Cayleen Del Rosario, Muyassar Kurdi, Estrellx Supernova, and Blake Worthey.

The 2022 Fall Movement artists were selected by Julie Mayo, benedict nguyễn, and jess pretty.

Before and after the performances, an exhibition featuring artworks and performance ephemera from Fall Movement artists will be on view in CPR's Storefront Gallery.


Karen Bernard
Device Not Detected

Device Not Detected is a two-part performance work combining visual art and minimalist movement to explore the feminine mystique and aging. A commentary on the ways we perceive aging and its limitations, the piece incorporates humor, costume, music, and projection to explore darker themes of aging, uncertainty, and death–all with a touch so light it caresses. In Part One, Karen Bernard, at age 73, is both performer and choreographer, using self-manipulated lighting and projection elements to create a space where gestures of collapse and struggle are juxtaposed with fluid and playful movement. Part Two, created under the direction of choreographer and performer Lisa Parra, echoes Part One and uses spare, stark lighting to create a cinematic moving sculpture.

[CANCELLED] Barnett Cohen
noposition nolocation

no position no location is a text-based movement piece including four performers who articulate queer surrealism through kaleidoscopic combinations of sound, body, and language. Through visual tableaus that integrate written absurdist non-sequiturs with symbolic performative gestures, Barnett Cohen, a queer artist who shapeshifts between poet, performance maker, painter, and activist, creates experiential constellations of voice and movement that highlight the persistence of anxious forces, neurotic tendencies, and unremitting violence within dominant ideologies.

Cayleen Del Rosario
Annihilation

Second in a series of triangulation studies, Annihilation is a collaborative group performance that explores a duet turned trio. Two dance in an oceanic union, mother and child/ kin to kin/ self with double, and when a third entity appears, a new symbolic order is established as the dyad breaks. Drawing from Lacan’s idea of gaps in meaning when faced with that which is unable to be symbolized, the movement, form, and meaning shift subtly and drastically as the performers and audience navigate the unstable field of dynamics, rhythms, memory, thought, textures, feelings.

Muyassar Kurdi
From the River to the Sea

From the River to the Sea is a cinematic and embodied interdisciplinary sound performance ruminating on: migration, memory, and home through the lens of a Palestinian refugee. The work explores the cinematic elements and aims to connect the modalities of sound, movement, and image while addressing issues surrounding displacement and colonialism. An interdisciplinary artist whose work encompasses sound art, extended vocal technique, performance art, movement, analog photography and film, Muyassar Kurdi continues her research on healing through movement and deepens her understanding of its relationship to memory and intergenerational trauma. As a first generation Palestinian refugee, Kurdi remains interested in themes such as migration and the idea of “home” and, through the lens of an indigeneity, expresses vulnerability, connection, and community healing.

Estrellx Supernova
Real Talk #2: confessions of a stone whore / VERSE

Real Talk #2: confessions of a stone whore / VERSE seeks to unpack Estrellx Supernova’s intimacy archives in service of engendering alternative subjectivities of eroticism that introduce new channels for accessing pleasure and that decentralize penetrative sex. Real Talk #2 is activated through physicality that implements club dancing, improvisational scores, repetitive gestures, and sad-bro grief songs that aim to unify their pelvic floor with their heart and throat. This work is an embodied testimonial that moves between a healing circle, performance ritual, and collective celebration.

Blake Worthey
please don't be here when I get back

please don't be here when I get back is a piece of scripted dance-theater that explores the cosmology of a just God in a world where much ambient and abject violence is present. The work is developed using Blake Worthey’s newly developed theater language – Non-Quotidian Theater – and questions the entirety of European theater aesthetic. Set in a HR department in Hell, the work uses the form of a monologue of tragicomedy to bring these violences into sharp relief and to demonstrate an escape from stories that allow socialized violence to precipitate.

Important note about visiting CPR:
CPR requires all visitors, artists, and staff to provide documentation of full vaccination against Covid-19 as well as a vaccine booster (if eligible), along with a photo ID, to enter CPR. For more information about booster eligibility, please visit the CDC's website. Masks must also be worn at all times inside CPR.

CPR - Center for Performance Research invites proposals for live performance works to be presented as part of Fall Movement on December 2 and 3, 2022.

Click here to apply.

Application deadline: Monday, May 30 at 5:00 PM EST.

Email applications@cprnyc.org with any questions.

Fall Movement is part of CPR’s bi-annual festival (with Spring Movement) that presents new dance, performance, and time-based work in a shared program. The festival is curated by an independent review panel comprised of artists and community stakeholders.

CPR invites individual artists, collectives, and companies to propose a live performance work that is 15-20 minutes in length, to be presented at CPR on December 2 and 3, 2022. CPR values experimental approaches to content, form, and aesthetic, and encourages risk-taking and the unexpected.

CPR is committed to supporting artists from every background, at various stages of their artistic careers, and across generations, and maintains an expansive approach to performance. We strongly encourage BIPOC artists, LGBTQ+ artists, immigrant artists, and artists with disabilities to apply.

Please be sure to read through the program details and application criteria in its entirety before submitting your application.

PROGRAM DETAILS
Fall Movement will take place at CPR on Friday, December 2 and Saturday, December 3, 2022 at 7:30 PM. An honorarium of $250 is available for each selected project, which would be expected to be presented on both evenings. Each project will be allotted a 2-hour technical rehearsal with CPR production staff, as well as 2 hours of complimentary rehearsal time in one of CPR's studios, based on availability.

ELIGIBILITY

• Individual artists, collectives, or companies may apply, but each applicant/application will be considered as a unique project, and will receive a single honorarium of $250.

• While Fall Movement is not limited to NYC-based artists, CPR cannot provide US visas, travel, accommodations, or other living expenses in connection with the presentation.

• Current undergraduate students are not eligible to apply.

• CPR requires all artists, visitors, and staff to be fully-vaccinated against Covid-19, and to have a vaccine booster, if eligible.

THE SPACE
CPR's Large Studio which also doubles as the theater has a marley-covered sprung floor playing space of 45 ft wide by 26 ft deep, and is outfitted with an LED theatrical lighting system, full-range sound, and projection capabilities, can seat up to 60 people, and has white walls and white marley. We are open to unique ways of using CPR's space, including proposals for the Small Studio/Storefront Gallery (45 ft x 15 ft) for installation-based or durational work, which would override the 15-20 minute length requirement.

CPR is a fully ADA-compliant and accessible venue with two gender-inclusive restrooms and one wheelchair-accessible restroom.

A floor plan, images, and technical specifications can be found here.

APPLICATION TIMELINE
Applications will be accepted until Monday, May 30, 2022, at 5:00pm EST. We expect to send notifications in June 2022 and to announce the program in August or September 2022 along with the announcement of CPR's 2022 Fall Season.

Please email applications@cprnyc.org with any questions. The panel looks forward to reviewing your application!

Tickets: $0-$25, pay what you can
Purchase Tickets


Doors open & films on view | 7:00 P.M.
Performances | 7:30 P.M.

View the program


Friday, April 29

Angela Schöpke Gonzalez
Banana & Me

Same As Sister
This is NOT a Remount

Nattie Trogdon + Hollis Bartlett
blue gomorrah and o fallen angel

Saturday, April 30

Angela Schöpke Gonzalez
Banana & Me

Jenny Pommiss
broken lines are fold lines

Nattie Trogdon + Hollis Bartlett
blue gomorrah and o fallen angel

Films on view

BAIRA
Anabella Lenzu
Zach Rothman-Hicks
Pioneers Go East Collective


As an extension of their participation in CPR’s 2022 Artist-in-Residence Program, Pioneers Go East Collective will curate CPR’s annual Spring Movement festival, culling from their network of interdisciplinary artists working at the intersection of dance, performance, multimedia, and film, and rooted in a Queer, Feminist lens. Organized by Collective artists Gian Marco Lo Forte Riccardo, Anabella Lenzu, and Philip Treviño, Spring Movement: Crossroads features emerging artists who are exploring new genres and modes of art-making which enable them to share their creative practices with other artists and audiences. Throughout the festival, we witness artists dealing with actual, day-to-day, contemporary challenges to further a discussion between artists, activating a network of exchange and inclusion with social and artistic intervention.


Spring Movement is part of CPR’s bi-annual festival (with Fall Movement) that presents new work by emerging and established artists.

Important note about visiting CPR:
CPR requires all visitors, artists, and staff to provide documentation of full vaccination against Covid-19 as well as a vaccine booster (if eligible), along with a photo ID, to enter CPR. For more information about booster eligibility, please visit the CDC's website. Masks must also be worn at all times inside CPR.

Tickets: $0-$25, pay what you can
Purchase Tickets


Doors open & films on view | 7:00 P.M.
Performances | 7:30 P.M.

View the program


Friday, April 29

Angela Schöpke Gonzalez
Banana & Me

Same As Sister
This is NOT a Remount

Nattie Trogdon + Hollis Bartlett
blue gomorrah and o fallen angel

Saturday, April 30

Angela Schöpke Gonzalez
Banana & Me

Jenny Pommiss
broken lines are fold lines

Nattie Trogdon + Hollis Bartlett
blue gomorrah and o fallen angel

Films on view

BAIRA
Anabella Lenzu
Zach Rothman-Hicks
Pioneers Go East Collective


As an extension of their participation in CPR’s 2022 Artist-in-Residence Program, Pioneers Go East Collective will curate CPR’s annual Spring Movement festival, culling from their network of interdisciplinary artists working at the intersection of dance, performance, multimedia, and film, and rooted in a Queer, Feminist lens. Organized by Collective artists Gian Marco Lo Forte Riccardo, Anabella Lenzu, and Philip Treviño, Spring Movement: Crossroads features emerging artists who are exploring new genres and modes of art-making which enable them to share their creative practices with other artists and audiences. Throughout the festival, we witness artists dealing with actual, day-to-day, contemporary challenges to further a discussion between artists, activating a network of exchange and inclusion with social and artistic intervention.


Spring Movement is part of CPR’s bi-annual festival (with Fall Movement) that presents new work by emerging and established artists.

Important note about visiting CPR:
CPR requires all visitors, artists, and staff to provide documentation of full vaccination against Covid-19 as well as a vaccine booster (if eligible), along with a photo ID, to enter CPR. For more information about booster eligibility, please visit the CDC's website. Masks must also be worn at all times inside CPR.

Tickets: $0 - $25, pay what you can
Purchase tickets here

Friday, December 3, 2021 | 7:30 PM
Saturday, December 4, 2021 | 7:30 PM

View the digital program here.

This program takes place in-person at CPR, and will not be live-streamed.



Fall Movement is part of CPR's bi-annual festival of new work, returning after an 18-month hiatus after Spring Movement in April 2020 was canceled. Five artists return to revisit their work.

An exhibition of research, ephemera, source material, and objects by Fall Movement artists will be on view in CPR’s Storefront Gallery before and after the performances.

MOLLY&NOLA
STEER

STEER tumbles into unforeseen territory where livestock auctioneering, cloning, and a brief dalliance with the Pentecostal Church collide.

Sadi Mosko
Tectonic

Tectonic started as a series of improvisational dance videos filmed in various natural landscapes. The piece coalesces movement from those videos and uses it to explore the concept of sustainability. Tectonic examines the cyclic systems that sustain Earth and questions how humanity fits into them. When does objective ecological science turn into expressive human interaction, and how can those two aspects of life coexist?

Jessica Nicoll and Barry Oreck
The Crabbit Wee Tailors of Forfar (excerpt)

In their new work-in-progress, The Crabbit Wee Tailors of Forfar, Jessica Nicoll and Barry Oreck explore the resilience and decay of wood, paper, and flesh. In attempting to tailor their world — fitting, fixing, patching — they struggle to resolve things that cannot be resolved.

Kalliope Piersol
New Business

New Business is a reformatting of movements made long ago that still somehow linger.

Valerius Productions
[ey-vis]

Inspired by the Greek mythological story of Icarus, [ey-vis] explores this story through a feminine lens. The choreography is derived from stereotypical feminine movement qualities such as delicacy, subtlety, and intricacy in order to display an overwhelming image of power. This juxtaposition challenges the weakness associated with femininity and illuminates the neglected strength of each individual.


Selected by a peer artist panel through an open call, Spring Movement 2020 was originally curated by Nicole Loeffler-Gladstone, Annie Wang, and Cyrah Ward, and featured Oluwadamiare (Dare) Ayorinde, MOLLY&NOLA, Jessica Nicoll & Laura K. Nicoll, Sadi Mosko, Kalliope Piersol, and Valerius Productions.


VISITING CPR
In accordance with the NYC mandate, documentation showing proof of full vaccination against Covid-19 (at least 14 days after final dose) will be required to enter CPR. A physical or photo copy of your vaccination card or NYS Excelsior Pass will be acceptable. CPR may also require masks or social distancing, at its sole discretion.

Tickets: $10 in advance and at the door (cash only); $8.50 in advance and at the door (with valid IDNYC)

November 7, 2019 | 7:30PM
Felicia B Avalos
Daša Grgic
Nicole Loeffler-Gladstone + zaybra
Isaac Spector

November 8, 2019 | 7:30PM
Gabriella Carmichael
J’Sun Howard
Nicole Loeffler-Gladstone + zaybra
Isaac Spector

November 9, 2019 | 7:30PM
Felicia B Avalos
Gabriella Carmichael
Daša Grgic
J’Sun Howard

Fall Movement is part of a biannual festival presented by CPR, featuring work by local and international emerging and established choreographers. This season’s installment will highlight 6 performance makers. Artists will present works-in-progress, finished pieces, and premieres of dance, theater, or performance, as well as interdisciplinary collaborations with filmmakers, musicians, and visual artists.

Thank you to our panelists, Deborah Conton, Anabella Lenzu, and Rourou Ye for your help in selecting this season’s artists!

Tickets: $10 in advance and at the door (cash only); $8.50 in advance and at the door (with valid IDNYC)

November 7, 2019 | 7:30PM
Felicia B Avalos
Daša Grgic
Nicole Loeffler-Gladstone + zaybra
Isaac Spector

November 8, 2019 | 7:30PM
Gabriella Carmichael
J’Sun Howard
Nicole Loeffler-Gladstone + zaybra
Isaac Spector

November 9, 2019 | 7:30PM
Felicia B Avalos
Gabriella Carmichael
Daša Grgic
J’Sun Howard

Fall Movement is part of a biannual festival presented by CPR, featuring work by local and international emerging and established choreographers. This season’s installment will highlight 6 performance makers. Artists will present works-in-progress, finished pieces, and premieres of dance, theater, or performance, as well as interdisciplinary collaborations with filmmakers, musicians, and visual artists.

Thank you to our panelists, Deborah Conton, Anabella Lenzu, and Rourou Ye for your help in selecting this season’s artists!

Tickets: $10 in advance and at the door (cash only); $8.50 in advance and at the door (with valid IDNYC)

November 7, 2019 | 7:30PM
Felicia B Avalos
Daša Grgic
Nicole Loeffler-Gladstone + zaybra
Isaac Spector

November 8, 2019 | 7:30PM
Gabriella Carmichael
J’Sun Howard
Nicole Loeffler-Gladstone + zaybra
Isaac Spector

November 9, 2019 | 7:30PM
Felicia B Avalos
Gabriella Carmichael
Daša Grgic
J’Sun Howard

Fall Movement is part of a biannual festival presented by CPR, featuring work by local and international emerging and established choreographers. This season’s installment will highlight 6 performance makers. Artists will present works-in-progress, finished pieces, and premieres of dance, theater, or performance, as well as interdisciplinary collaborations with filmmakers, musicians, and visual artists.

Thank you to our panelists, Deborah Conton, Anabella Lenzu, and Rourou Ye for your help in selecting this season’s artists!

April 4, 2019 | 7:30 PM
April 5, 2019 | 7:30 PM
April 6, 2019 | 7:30 PM

Tickets: $10 in advance and at the door (cash only); $8.50 in advance and at the door (with valid IDNYC)

Spring Movement 2019 featured artists:
Nora Alami
Oxana Chi
Raphael Eilenburg
Trevor Latez Hayes
Amelia Heintzelman & Leah Fournier
Louise Heit
Anna Lublina
Jesse Phillips-Fein
Anat Shinar + Amal Rogers
Ogemdi Ude
Vanessa Vargas + Marisabel Davila Lobo
Rourou Ye

Spring Movement is part of a biannual festival presented by CPR, featuring work by local and international emerging and established choreographers. This season’s installment will highlight 12 performance makers. Artists will present works-in-progress, finished pieces, and premieres of dance, theater, or performance, as well as interdisciplinary collaborations with filmmakers, musicians, and visual artists.

April 4, 2019 | 7:30 PM
April 5, 2019 | 7:30 PM
April 6, 2019 | 7:30 PM

Tickets: $10 in advance and at the door (cash only); $8.50 in advance and at the door (with valid IDNYC)

Spring Movement 2019 featured artists:
Nora Alami
Oxana Chi
Raphael Eilenburg
Trevor Latez Hayes
Amelia Heintzelman & Leah Fournier
Louise Heit
Anna Lublina
Jesse Phillips-Fein
Anat Shinar + Amal Rogers
Ogemdi Ude
Vanessa Vargas + Marisabel Davila Lobo
Rourou Ye

Spring Movement is part of a biannual festival presented by CPR, featuring work by local and international emerging and established choreographers. This season’s installment will highlight 12 performance makers. Artists will present works-in-progress, finished pieces, and premieres of dance, theater, or performance, as well as interdisciplinary collaborations with filmmakers, musicians, and visual artists.

April 4, 2019 | 7:30 PM
April 5, 2019 | 7:30 PM
April 6, 2019 | 7:30 PM

Tickets: $10 in advance and at the door (cash only); $8.50 in advance and at the door (with valid IDNYC)

Spring Movement 2019 featured artists:
Nora Alami
Oxana Chi
Raphael Eilenburg
Trevor Latez Hayes
Amelia Heintzelman & Leah Fournier
Louise Heit
Anna Lublina
Jesse Phillips-Fein
Anat Shinar + Amal Rogers
Ogemdi Ude
Vanessa Vargas + Marisabel Davila Lobo
Rourou Ye

Spring Movement is part of a biannual festival presented by CPR, featuring work by local and international emerging and established choreographers. This season’s installment will highlight 12 performance makers. Artists will present works-in-progress, finished pieces, and premieres of dance, theater, or performance, as well as interdisciplinary collaborations with filmmakers, musicians, and visual artists.