Free; advance registration required at least 24 hours in advance.
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Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Treatment 1 (CRT T1) / The Rhythm Treatment will focus on sound and feeling in relationship to race – come make “race songs” with 2024 Artist-in-Residence Kyle b. co.

Private 1-on-1 sessions are available at 11:30AM, 1PM, 2:30PM, and 4PM on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. 

With limited 1-on-1 sessions available, we kindly ask that you honor your reserved time. If you are not able to make it to a session, please cancel your reservation through Eventbrite or let us know ASAP at info@cprnyc.org so that we can reopen the slot to another participant.


ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Free with RSVP
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Tunnel Vision Splintering is a practice of straddling our virtual and real selves. In this movement workshop facilitated by 2024 Artist-in-Residence Alex Rodabaugh, participants will use handheld devices to pilot virtual versions of themselves while collectively engaging their physical bodies together in improvisational movement scores. It is a precarious practice of splintering into two places at the same time, engaging in both selves as equally as we can manage.

Your virtual self may take any form that is most comfortable or interesting to you, including but not limited to: a video game character on a hand-held gaming device, a live social media stream interacting with chat, posting and commenting on social media, video chatting with a friend, playing a smartphone game that requires constant attention, or anything else that you’d like to personally explore. Augmented Reality headsets are okay as long as you can see the people and space around you.

The movement scores will consist of basic movement instructions that are open to interpretation while constantly in motion: moving from standing height to floor height while turning in a circle, pretending you are under water, pretending you are moving through jello, staying connected with a partner by touching elbows, and more that will be devised together at the start of the practice.

The workshop is open to movers of most abilities. The practice involves moving one's body while also moving one's virtual body, which can be difficult cognitively and physically, but anyone up for the challenge is welcome.


ABOUT THE ARTIST

Alex Rodabaugh is a choreographer, dancer, and performer from Lima, OH (Shawnee territory), based in NYC (Lenapehoking). Alex's work has been shown at Movement Research at the Judson Church, Draftwork at Danspace Project, Double Plus at Gibney, PRELUDE, American Realness, and Dance and Process at The Kitchen. Alex most recently performed in Rebecca Patek’s Tough Titties. Alex has performed in works by artists such as Moriah Evans, Simone Forti, Tess Dworman, Miguel Gutierrez, Ishmael Houston-Jones, Doug LeCours, Derek Smith, and Bailey Williams, among others, including two Bessie Award-winning performances. Alex is also a Treasurer/Co-Founder of Dance Artists’ National Collective and was a 2024 Artist-in-Residence at CPR – Center for Performance Research. www.alexrodabaugh.work.

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*The previously-scheduled 1PM Orientation has been consolidated into this single 3PM program.


Critical Race Therapy thinks through methodologies of race treatment(s) or how one might address race as an embodied sense or an anxiety disorder. Learn more at Orientation with 2025 Artist-in-Residence Kyle b. co., which will include a performance presentation, process demonstration, and group medi(t)ation. Cookies will be served. Featuring Isaac Silber.

Those who attend Orientation will have priority access to a limited number of 1-on-1 sessions of Treatment 1 (CRT T1) / The Rhythm Treatment before the calendar opens to the general public. Treatment 1 will focus on sound and feeling in relationship to race – come make “race songs” with Kyle b. co.

Private sessions run about 1 hour. Participants may remain anonymous and will receive a recording of their songs. Previous participants are welcome to return. At Orientation, you will have the opportunity to sign up for these individual sessions with times available between 11:30 A.M. and 5:30 P.M. on the following Sundays:

Sun, March 23
Sun, March 30
Sun, April 6
Sun, April 13
Sun, May 11
Sun, May 18

View the Program

SUPPORT

This work was made possible, in part, by the Franklin Furnace FUND 2024-25, supported by Jerome Foundation and the members and friends of Franklin Furnace Archive.

ABOUT THE ARTIST

Kyle b. co. is a trans-disciplinary artist, performer, educator, and baker based in Brooklyn, NY. They are a 2024-25 Franklin Furnace Fund recipient, a 2023 Smack Mellon Hot Pick, and were short-listed for the 2025 Creative Capital award in visual arts. They have received a RISCA Merit Fellowship in 3-D Arts and a Providence Arts, Culture, and Tourism Public Art Fellowship. Their work has found kinship at Hera Gallery, RISD Museum, Buoy Gallery, Zimmerli Museum of Art, Westbeth Gallery, Lucas, Lucas, and Grace Exhibition Space, among other spaces. Their practice engages with the task of mapping the present as a method of document and engagement with form. They work with materials of culture and personal history to make monuments of possibility. The matrices that hold an image may not be visible ‘til named. Their practice is one of futurity as they seek what can be sensed, not what is known. In various ways, they try to grasp at the transmission/translation of a feeling. Feeling(s) as a concept is unclear in its relationship to time. When did the feeling begin? Has the feeling ever stopped? Will you have this feeling again in the future? Their work spans both objects/installation and performance, the distinction between mediums not being that important. Their work is about feeling (&) connection(s).

Free, advance registration required
REGISTER for a 20-min time slot

On Eventbrite, please select the 1pm event, then press "Tickets," and select your desired 20-minute time slot at checkout.

With limited individual time slots available, we ask that you fully commit to the time that you register for. If you are not able to make it, please let us know as soon as possible so we can release the time to another participant. If all time slots are taken, please email info@cprnyc.org with the subject “Waiting List: Aural Archiving” and we will reach out if a time becomes available.


As part of Yanira Castro / a canary torsi’s multisite, multi-format public art project Exorcism = Liberation and in conjunction with the installation on view in the windows of CPR from September 25 through November 6, this aural archiving project will gather participants’ foundational memories of earth in an intimate, analog recording session. Responding to the prompt “What is your first memory of dirt?”, one of the project’s slogans and sound works that will be carried across the U.S. this fall on stickers, pins, lawn signs, and handmade banners during a critical American election season, participants will be guided through a private experience of listening, contemplation, and memory, recounting their first memories of dirt on a cassette tape recorder.

Participants will sign up for an individual 20-minute time slot and engage in an autonomous recording experience. Tea and cookies will be served.

OPEN LAB invites artists and scholars to facilitate theoretical discussions and embodied workshops, providing a platform for practice-based inquiry and creative exchange.


ABOUT THE ARTIST

Yanira Castro's work is rooted in communal construction as a rehearsal for radical democracy. She is an interdisciplinary artist born in Borikén (Puerto Rico), living in Lenapehoking (Brooklyn), and working at the intersection of communal practices, performance, installation, and interactive technology. Castro forms iterative, multimodal projects that center land, and the complexity of citizenship and governance in works activated and performed by the public. Since 2009, she’s created and performed with a team of collaborators as a canary torsi. Her recent work includes a performance manual for reckoning, Last Audience, a performance manual; a participatory podcast to rehearse for a collective future, Last Audience: a performance podcast; and a tea ritual created with four teens from NYC Girl Scouts Troop 6000 to enact the ingestion of home/land, TIERRA. Currently, Castro is developing her ongoing interdisciplinary work, I came here to weep, a collective exorcism for territorial possession. Castro has been commissioned and presented by The Chocolate Factory Theater, New York Live Arts, MCA Chicago, The Invisible Dog Art Center, SPACE Gallery, PICA, LMCC, The Bates Dance Festival and ICA/Boston. Her work has recently been supported by Creative Capital, The MAP Fund, The Herb Alpert Award in the Arts for Dance, 2024 NYSCA/NYFA Fellowship for Interdisciplinary Art, Maggie Allesee National Center for Choreography, LMCC, MacDowell, Yaddo, and Marble House Project. She has received two New York Dance and Performance (aka Bessie) Awards for Outstanding Production.

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This group conversation facilitated by Lena Engelstein will center Juliana F. May’s choreographic process over the last 20 years as she embarks on her current work Optimistic Voices premiering in the fall of 2025. Inspired by May’s ongoing Art Group workshops which generate community around making, all are welcome and are invited to participate by listening, asking questions, and bringing their own issues surrounding creative process, autobiography, and performance and setting material.

OPEN LAB invites artists and scholars to facilitate theoretical discussions and embodied workshops, providing a platform for practice-based inquiry and creative exchange.

Optimistic Voices is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.


ABOUT THE ARTISTS

A Guggenheim and New York Foundation for the Arts Fellow, Juliana F. May has created ten evening length works since 2002 with commissions and encore performances from Dance Theater Workshop, New York Live Arts, The Chocolate Factory Theater, American Realness, and Abrons Arts Center. May has been awarded grants and residencies through The MAP Fund, NYSCA, Jerome Foundation, Lower Manhattan Cultural Council, Gibney Dance In Process, and Maggie Allesee National Center for Choreography. In 2002, May received her BA in Dance and Art History from Oberlin College, and, in 2012, she received an MFA in Choreography from the University of Wisconsin-Milwaukee. May served as the Artistic Advisor for New York Live Arts' Fresh Tracks Residency Program from 2017-2019 and 2024-present and has been on faculty at Sarah Lawrence College since 2017.

Lena Engelstein is a dancer, performer, and choreographer. She is part of the interdisciplinary performance collective CHILD, headed by Lisa Fagan. Her work has been dubbed “The High Weird” by critics and lauded as “subtly campy and hilariously queer” by The Brooklyn Rail. Recent Choreography/Direction includes Deepe Darknesse at New York Live Arts’ Live Artery 2024 with collaborator Lisa Fagan and CHILD's 1-800-3592-113592 at Theater Mitu in March 2024. Recent performance credits include Alexa West, Barnett Cohen, Brendan Drake, Falcon Dance (company member, 2018-present), Isa Spector, Jo Warren, Owen Prum + Lili Dekker, Miguel Alejandro Castillo, and Third Rail Company’s Then She Fell (company member, 2019-2020). Engelstein currently choreographs for and performs with the band Lou Tides. She holds a BA in Mathematics from Colorado College and has taught at SUNY Brockport, Colorado Mesa University, Bard College, and The Field Center. 

Free with RSVP
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Facilitated by olfactory artist agustine zegers, Sympoietic Breath invites a deeper awareness of how smells reveal our embeddedness in systems of ecological collapse and emergence. With one inhale, our body awakens to an incorporated cosmos. Ancient molecular exchanges, traces of industry, traces of plant breath, and traces of decaying life all transit through the pleura of our lungs. Odorant molecules also join in, entering the continuous lubricated movement of our breaths. These smelly compounds reveal the ever-enfolding complexities of air, allowing us to decode its composition through our olfactory bulbs and opening us up to intelligences at the scale of the invisible. As such, our sense of smell – animated by the breath – can be activated as a collaborative sensemaking tool for an ever-shifting planet.

Participants will be introduced to ecological and olfactory terminology and will be guided through an olfactive exercise to help us put collaborative breathing and smelling into practice.

OPEN LAB invites artists and scholars to facilitate theoretical discussions and embodied workshops, providing a platform for practice-based inquiry and creative exchange.

This program will take place virtually via Zoom. Auto-generated captions will be available.


ABOUT THE ARTIST

agustine zegers (b. Santiago, Chile) is an olfactory artist and student of atmospheric biopolitics. Their work attends to the nourishing and noxious transcorporealities we share as inhabitants of Earth, offering forms of communion with ecological collapse at the scale of the molecule and breath. Their work has scented and been exhibited across the Global North and South at venues such as Prairie, Chicago (2024); 52 Walker, New York (2024); the Chilean Pavilion at the Venice Biennale, Venice (2022); Lagos, CDMX (2020); Galería Jaqueline Martins, São Paulo (2018); and Galería Metropolitana, Santiago (2015).

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As an extension of 2024 Artist-in-Residence Ariana Speight’s research for their new work cocoon which will be presented in development as part of OPEN AiR on October 20, DIGITAL ARCHIVE will be a gathering of sharing and processing data, memory, and content that has shaped us. During this generative workshop, participants will build a written archive through dialogue and note-taking, documenting noteworthy movies, television, and music. Together we embrace the rough edges, the crispy bits that make us unique. What brought you here? How did you get here? Where is home for you? Are you home? 

Storytelling. Processing through dialogue. Loss of history. Nostalgia. Connection. Coming together to share stories. Kiki if you will. Memory. Sentimentality. Focusing on content. Keeping track. Making memories. Reminiscing. Restoration. [tldr]

Participants are encouraged to bring any comforts you may need. Take breaks. Zoom in, zone out. Camera on, camera off. Come as you are. Tangents are welcome with resources and support available.

References include: Women Who Run with the Wolves: Myths and Stories of the Wild Woman Archetype by Claudia Pinkola Estés, Parable of the Sower by Octavia Butler, Spongebob Squarepants, and many more.


OPEN LAB invites artists and scholars to facilitate theoretical discussions and embodied workshops, providing a platform for practice-based inquiry and creative exchange.

This program will take place virtually via Zoom. Auto-generated captions will be available.


ABOUT THE ARTIST

Ariana Speight is a contemporary dance artist invested in researching the curiosities of life through various mediums. Originally from Los Angeles and currently based in Brooklyn, she has worked with a number of artists including Kayla Farrish, Joanna Kotze, Jordan Demetrius Lloyd, Kyle Marshall, Anna Sperber, and Jessie Young. Her freelance journey has led her to perform at Brooklyn Arts Exchange (BAX), Chelsea Factory, Coffey Street, Dancewave, Lincoln Center Hearst Plaza, New York Live Arts, PAGEANT, Roulette Intermedium, The Shed, The Space at Irondale, The Tank, Webster Hall, among other venues in New York, Florida, and Pennsylvania. She is a BFA graduate from Mason Gross School of the Arts at Rutgers University and is a certified Yoga and Pilates instructor where she continues to nurture her teaching practice.

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Inspired by the letter written and published by 2024 Artist-in-Residence GOODW.Y.N., also a United States veteran, titled Dear Soldier(s): An Open Letter to the Israeli Armed Forces in December 2023, and their ongoing letter-writing practice, this workshop invites participants to write their own letters as performance, response, and fuel for protest. 


ABOUT THE ARTIST

Nicole Goodwin aka GOODW.Y.N. (she/her/they) is the winner of the 2023 LMCC Creative Engagement Grant, a 2022-23 Franklin Furnace Fund Recipient, and a BAX EmergeNYC 2017-2018 artist. GOODW.Y.N. was also a semifinalist for the Headlands 2023 Chamberlain Award and a finalist for both the CUE Foundation’s 2022 Public Programs Fellowship and the 2018 Ragdale Alice Judson Hayes Fellowship, and they advanced to the 2nd Round of the 2018 Creative Capital Awards. They published the articles “Talking with My Daughter…” and “Why is this Happening in Your Life…” in The New York Times’ parent blog, Motherlode, and their work Ain’t I a Woman (?/!): Poems was long-listed for The Black Spring Press Group’s The Christopher Smart-Joan Alice Poetry Prize in 2020.

Free with RSVP
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* Advance tickets for this event are sold out. Additional tickets will be available at the door via an in-person wait list opening at 7 P.M.


In this immersive, participatory gathering, Nocturnal Medicine – a nonprofit studio for climate consciousness and cultural transformation founded by Larissa Belcic and Michelle Farang Shofet – invites the sensual body into an experiment in the sermon. How do you deliver a message? How do you gather around darkness while illuminating pleasure? Playing in the space between religious service and performance art, working in collaboration with the audience, Nocturnal Medicine spins their tried methods and ideologies into an experimental practice that transcends the intellectual and awakens the body subconscious.


ABOUT THE ARTISTS

Nocturnal Medicine is a nonprofit studio for climate consciousness and cultural transformation. Founded by Larissa Belcic and Michelle Farang Shofet in 2016, the collective makes new ways of gathering for the worlds of today and tomorrow. Their practice centers the regeneration of our relationships – with Earth, with each other, and with ourselves. Amongst Nocturnal Medicine’s body of work, they have created sanctuaries for ecological grief, climate-aware seasonal rites, chapels for extinction, and raves for public healing. Their work has been celebrated in The New York Times and CityLab as bringing a cutting-edge, soul-centered approach to addressing the psycho-emotional impacts of climate crisis. They have designed and produced immersive social experiences across diverse platforms, including in nightlife (Nowadays, Gospel), cultural institutions (Lincoln Center, Performance Space New York), and at universities across the country (MIT, UVA, Yale).

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free with RSVP
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This special OPEN LAB celebrates the publication of Being Work – a collection of essays by dance and theater artists which offers access to varied experiences of performing in live exhibitions – edited by Dorothy Dubrule and published by Insert Press.

For the NYC book launch, Ryan McNamara moderates a conversation with Dubrule and fellow contributing authors effie bowen and Paul Hamilton, who read excerpts from their essays, share their experiences from visual art gigs, and, together with event attendees and local artists, co-envision an expansive future for performance labor in galleries, museums, and art fairs.

In Being Work, authors capture a spectrum of mundane and profound moments that arise within performance gig work in visual arts contexts such as museums, galleries, and art fairs, detailing the day-to-day practice of inhabiting art work as well as reflecting on broader questions of how they got there and the impact it has had on their outside lives. While providing very personal, human perspectives on what it feels like to perform in visual arts spaces, Being Work asks its audience how a performer’s labor is perceived and valued in these spaces, and what new possibilities might unfurl within the, at times fraught, coexistence of the two mediums.

Being Work will be available for purchase at the event, or can be ordered through Insert Press here. Contributors include: Mireya Lucio writing on being the work of Marina Abramović, Casey Brown on Maria Hassabi, Jessica Emmanuel on Xu Zhen, Kestrel Leah on Julien Previéux, Allie Hankins on Gordon Hall, effie bowen on Narcissister, Paul Hamilton on Bruce Nauman, and Dorothy Dubrule on Tino Sehgal.

View the Program


ABOUT THE ARTISTS

Dorothy Dubrule is a choreographer and performer based in Los Angeles. Her choreography is often made in collaboration with people who do not identify as dancers and has been performed in theaters as well as bars, clubs, galleries, sound stages, and sports arenas. The content of her choreography draws inspiration from film and community theater. Prior to moving to LA, she danced with DIY performance art collective Club Lyfestile and comedic fly girl crew Body Dreamz in Philadelphia. She has worked with visual artists, musicians, comedians, choreographers, and directors such as Emily Mast, Jon Daly, Kate Watson-Wallace, Lea Anderson, Lisel, Melinda Ring, Milka Djordjevich, Narcissister, Tino Sehgal, Trulee Hall, and Zoe Aja Moore, among others. Dorothy was the Executive Director of Pieter Performance Space, a non-profit platform for movement artists, healers and activists based in LA from 2017 to 2022. From arts non-profit leadership she transitioned to organizational operations with a focus on the care and resourcing of humans in the workplace.

effie bowen is an anti disciplinary artist making work that examines how obedience is enforced by objects and training. They have a BFA in Dance from Hollins University and an MFA in Sculpture + Extended Media from Virginia Commonwealth University.

Paul Hamilton, a Bessie-nominated dancer, began his training in Jamaica at the Jamaica School of Dance. After relocating to the United States, he continued his studies at SUNY Purchase under Kevin Wynn and Neil Greenberg. His dance repertoire includes performances with Elizabeth Streb, The Martha Graham Dance Ensemble, and The Barnspace Dance Company. In 2000, Paul embarked on a long-standing collaboration with Reggie Wilson Fist and Heel Performance Group, resulting in acclaimed works like Black Burlesque (revisited) and the Bessie-winning Big Brick. His thirst for knowledge led him to choreographer Keely Garfield, resulting in captivating pieces such as Scent of Mental Love and Telling the Bees. A pivotal moment arrived in 2014 when Paul teamed up with artist Ralph Lemon to create Chorus, an integral part of the Scaffold Room performance at The Kitchen. His outstanding contributions earned him a Bessie nomination. Paul’s journey continued with performances in Bessie-winning productions, including Jane Comfort’s 40th Anniversary Retrospective and David Thomson’s He his own mythical beast. Notably, he restaged Bruce Nauman’s Wall Floor Position at MoMA and MoMA PS1. Currently, Paul thrives in original works by Melinda Ring, Neil Greenberg, and Susan Marshall. He is currently a Movement Research Artist in Residence, and his choreographic work has been presented as part of the 2021 Performa Biennial in collaboration with artist Kevin Beasley, and at Movement Research at Judson Church. 

Ryan McNamara is a Brooklyn-based artist who works in performance, video, photography, drawing and sculpture. His work has been featured at MoMA PS1, The Guggenheim New York, Dallas Symphony Orchestra, ICA Boston, Perez Art Museum Miami, ICA London, The Garage Moscow, The Power Plant Toronto, the Athens Biennale, and The High Line New York. He teaches performance in the Hunter College MFA program and his work is included in the collections of the Museum of Modern Art and the Whitney Museum of American Art in New York.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free, RSVP required (limited audience)
RSVP

Mon, February 5 at 6 P.M.
Mon, February 12 at 6 P.M.
Mon, Febraury 19 at 6 P.M.
Mon, February 26 at 6 P.M.
Mon, March 4 at 6 P.M.
Mon, March 11 at 6 P.M.
Mon, March 18 at 6 P.M.
Mon, March 25 at 6 P.M.


introjective exhibition (nhập xuất nhập xuất) is a choreographic practice researching the body as a vehicle for thinking, feeling, translating, communicating, theorizing, and dancing. This practice with 2024 Artist-in-Residence Anh Vo will manifest in a series of weekly performances every Monday in February and March 2024 for a limited 10-person audience, where this bodily sensuous vessel will be mobilized to make contact with others' haunted selves and give them provisional forms to be put on public display.

Thinking through the Kleinian psychoanalytic concept of "projective identification" and Vietnamese shamanistic possession rituals, both of which presuppose the instability of the individual psychic container, introjective exhibition wallows in the risk of losing oneself in communing with otherness. If our ghosts demand to be seen and heard despite our conscious wishes to exorcise them, how can dance and performance create an intimate transitive space that can seduce this necessary loosening of the individual will?


ABOUT THE ARTIST

Anh Vo is a Vietnamese choreographer and writer based in Brooklyn. Described by the New York Times as "risky, erotic, enigmatic and boldly humorous," their works flesh out the tremulous sexual body as a vessel for apparitional forces. Their most recent performances attempt to communicate the monotonous oppressiveness that is the weather of postwar contemporary Vietnam. Vo received their degrees in Performance Studies from Brown University (BA) and New York University (MA). They are currently a 2023-2025 Jerome Hill Artist Fellow and a CPR 2024 Artist-in-Residence.

Free with RSVP
RSVP


Embark on a self-guided journey through a digital archive of images, text, and video mined and collected by 2023 Artist-in-Residence Eleanor Kipping for the development of their solo multimedia performance, [transmission]. Their work integrates the notion of “virus as other”, at the intersection of public health, politics, and stigma, and through an exploration of Western media, political speech, public persuasion, and propaganda.

For this virtual program, a desktop or laptop computer is highly recommended, as participants will access and manipulate these materials in real time.


Eleanor Kipping (she/they) is a Black Queer Brooklyn-based Artist, Educator and Arts Administrator, originally from Maine. Her multidisciplinary practice lies at the intersection of performance, installation, and lens-based media and image making. Her work explores the othering of viruses at the intersection of race, gender, class, and place with specific concentration on HIV. Through the examination and deconstruction of historical and contemporary narratives, she is interested in the public, private, and civic negotiations of race, gender, in addition to the effect and practice of violence and surveillance. She has been awarded residencies at the Lunder Institute for American Art, Skowhegan School of Painting and Sculpture, School of Visual Arts, and Lower Manhattan Cultural Council. She is currently a 2023 CPR – Center for Performance Research Artist-in-Residence. Her work has been exhibited at The Shed, Portland Museum of Art, Center for Maine Contemporary Art, Yellow Fish Durational Performance Festival, and more. She is a Media Instructor at BRIC, the Marketing Manager at Hi-ARTS, and the Co-Founder of Camp El, a Maine-based artist retreat.

Free with RSVP
RSVP


In this workshop, 2023 Artist-in-Residence Orlando Hernández will use tap dance vocabulary, techniques, and concepts to open up conversations about history, narrative, and subjectivity. There will be a special emphasis on listening and rhythm-based improvisation. No tap dance experience required.

The workshop is organized in tandem with fellow 2023 Artist-in-Residence and tap artist Benae Beamon’s OPEN AiR program at 5:00 P.M., which will include a post-show conversation between Beamon and Hernández. More info and tickets here.


Orlando Hernández is a tap dancer and choreographer based in New Jersey. He has presented his work at On the Boards, La Casa Ruth, SPACE Gallery, the Provincetown Dance Festival, Dance Now at Joe's Pub, and Movement Research at the Judson Church. He is a member of the companies Subject: Matter and Music From The Sole. Orlando is the recipient of fellowships from the Rhode Island State Council on the Arts, the New England Foundation for the Arts, the Brown Arts Initiative, and Yaddo, and is a 2022-2023 Fresh Tracks Artist at New York Live Arts and a 2023 CPR Artist-in-Residence.

Free with RSVP
RSVP


Curious about picking up an apocalypse skill? Shedding tears of climate grief on your commute to work? If so, read on. Facilitated by artist and fermentation revivalist Ampersand Paris, Boiling Point is a practical food preservation workshop and guided writing practice intended to deepen each participant's connection with their surrounding micro- and macro-ecologies.

The in-person workshop will include a brief overview of food preservation techniques, the creation of an infusion using seasonal fruits, and opening writing prompts. As the infusions develop over the next three months, the group will be encouraged to follow this process through a continuous writing practice, participating in (optional) remote check-ins in pairs or groups to share their writing. At the culmination of the infusion process, the group will organize a convivial gathering to sip their infusions and hear each other’s work.

Jars, fruit, and solvents will be provided. A non-alcoholic option is available on request by emailing Anna Muselmann, Programs Manager, at anna@cprnyc.org.


Ampersand Paris is an interdisciplinary performing artist and fermentation revivalist currently cultivating a trans-microbiopolitic for making and being. They concern themselves with taking care of nearly invisible things: bacteria, yeast, lines of code, and the liminal space of trans existence. Their overlapping processes of fermentation, decomposition, self-portraiture, computer programming, and performance improvisation build relationships to these invisible forces and illuminate their world-shaping impacts. Their desire is to learn the technologies of the small in order to care for big transformations necessary to survive, if not effervesce, in climate ruin.