#celebratethework
In response to the effects of COVID-19 on the dance and performance world, CPR will highlight and honor our spring season artists on the day of their scheduled performance. Stay tuned as artists share their processes, motivations, and media over the coming weeks and join us as we #celebratethework
Follow us online:
CPRNYC.org // @cprnyc
Postponed/Cancelled Events:
Performance Studio Open House: PSOH March 2020
New Voices in Live Performance: the corpus is exquisite, the equinox is vernal (ceev)
Spring Movement: CPR Spring Movement 2020
Performance Studio Open House: PSOH April 2020
Performance Studio Open House: PSOH May 2020
Technical Residency: Pussypaws Puppetry (closed to the public)
Pussypaws Puppetry: That Paradise Place. Photo by Emma Kazaryan. Courtesy the artist.
The Technical Residency is closed to the public.
CPR welcomes Pussypaws Puppetry, an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities, for a Spring 2025 Technical Residency. Since 2020, Pussypaws Puppetry has created an evolving folk archive chronicling the love, sex, and fantasy lives of artists with disabilities. Their 2024 musical production That Paradise Place brought 16 such tales to life with the help of over 100 handmade puppets and 60 artists.
During their week-long residency at CPR, Pussypaws Puppetry will revive the spirit of the project while toying with the particulars, adding new disabled voices into the collective cauldron, bringing them to life through puppetry and performance, and holding auditions to bring in new members. The result will be a vaudevillian celebration of eroticism, creativity, and connection for all.
The technical Residency will culminate in a three-night OPEN AiR program of their new work in development The Bosch Pit on May 29-30, 2025. Tickets and more information here.
ABOUT THE ARTISTS
Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.
OPEN AiR | Pussypaws Puppetry: The Bosch Pit
Photo by Alex Pritz. Courtesy Pussypaws Puppetry.
Tickets: $0-$25, pay what you can
Purchase Tickets
Thurs, May 29 at 7PM
Fri, May 30 at 7PM
As an extension of their 2025 Technical Residency, Pussypaws Puppetry, an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities, will present The Bosch Pit, a continuation of their celebration of the love, sex, and fantasy lives of artists with disabilities. Taking inspiration from Hieronymus Bosch’s trippy triptych The Garden of Earthly Delights, depicting heaven, earth, and hell in all their psychedelic splendor, The Bosch Pit will feature the live testimonials of disabled artists, glorifying the agony and ecstasy of being an erotic, embodied human being, and brought to life by a collaborative and inclusive team of artists through dazzling handmade puppets. Transforming CPR into an unruly puppet garden of sensual and grotesque creatures, the artists’ stories will span the full range of human emotion to capture the heavenly and hellish elements of love and lust, and what’s in between.
This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.
ABOUT THE ARTISTS
Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.
OPEN AiR | Pussypaws Puppetry: The Bosch Pit (Copy)
Photo by Alex Pritz. Courtesy Pussypaws Puppetry.
Tickets: $0-$25, pay what you can
Purchase Tickets
Thurs, May 29 at 7PM
Fri, May 30 at 7PM
As an extension of their 2025 Technical Residency, Pussypaws Puppetry, an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities, will present The Bosch Pit, a continuation of their celebration of the love, sex, and fantasy lives of artists with disabilities. Taking inspiration from Hieronymus Bosch’s trippy triptych The Garden of Earthly Delights, depicting heaven, earth, and hell in all their psychedelic splendor, The Bosch Pit will feature the live testimonials of disabled artists, glorifying the agony and ecstasy of being an erotic, embodied human being, and brought to life by a collaborative and inclusive team of artists through dazzling handmade puppets. Transforming CPR into an unruly puppet garden of sensual and grotesque creatures, the artists’ stories will span the full range of human emotion to capture the heavenly and hellish elements of love and lust, and what’s in between.
This OPEN AiR program is an extension of a Spring 2025 Technical Residency with Pussypaws Puppetry. More information about the residency here.
ABOUT THE ARTISTS
Pussypaws Puppetry is an inclusive puppet troupe of visual artists, musicians, and performers with and without disabilities. They are enchanted by all things silly, spirited, and sensual. Inspired by puppetry’s legacy as a medium of the people – inherently playful, provocative, and predominantly existing outside art world norms and trends – Pussypaws offers a freewheeling, experimental, accessible creative space where artists of all persuasions, backgrounds, and abilities can make puppet shows and have fun. The collective was founded in 2020 by sisters Priscilla Frank and Alana Hauser, and is named after the Pussypaws flower, whose magical properties open us to the healing powers of physical touch.
Technical Residency: Jen Rosenblit and Simone Aughterlony (closed to the public)
Photo by Simon Courchel. Courtesy the artists.
The Technical Residency is closed to the public.
CPR welcomes Jen Rosenblit and Simone Aughterlony for a Spring 2025 Technical Residency, providing one uninterrupted week in CPR’s theater and access to a robust a/v inventory to play, experiment, and create. The residency will support their new work in development, The Dumps, a performance surrounding architectural decay and ruinophilia, or the love of ruins. During the residency Rosenblit and Aughterlony will work with various stage, light, and sound collaborators, focusing on research and prototyping construction scaffolding as the skeleton material and the site for the live performance.
As an extension of their residency, Rosenblit and Aughterlony will organize In Our Decline, a day-long symposium featuring performative activations, visual art offerings, and public conversation and engagement with a range of artists, curators, and scholars, co-presented with and presented off-site at The Invisible Dog Art Center on March 22, 2025. More information on the symposium is available here.
ABOUT THE ARTISTS
Jen Rosenblit makes performances based in Berlin after many years in NYC surrounding architectures, bodies, text, and ideas concerned with problems that arise inside of agendas for togetherness. Rosenblit’s works lean toward the uncanny, locating ways of being together amidst (un) familiar and impossible contradictions. The methodology supports an expanse of meaning as it emerges between things and moves toward an unwinding and a possible collapse. Desire and sexuality linger as reoccurring points of departure without demanding a singular aesthetic or representation. Rosenblit is a 2018 Guggenheim Fellow, a recipient of a 2014 New York Dance and Performance “Bessie” Award, a 2023 La Becque (Vevey, CH) artist in residence, and currently teaches at Hochschulübergreifendes Zentrum Tanz Berlin. Rosenblit has collaborated with artists including Simone Aughterlony, Miguel Gutierrez, A.K. Burns, and Philipp Gehmacher in various capacities via performer, writer, creator, and director.
Simone Aughterlony is an independent artist based in Zurich and Berlin, working predominantly in dance, performance, and visual art contexts. They have been devising queer-spirited choreographic works over the last sixteen years. Engaging with alternative forms of kinship inside their process, new constellations emerge as possibilities for reconfiguring a culture of togetherness that fosters both familiar and unknown quantities. Their works playfully compose with representation and its saturation, seeping into and embracing the phenomenology of mis-recognition and the absurd. Aughterlony approaches art making as a practice where they navigate the contradiction between the domination of desire alongside the agency of all elements. They regularly teach at academic institutions such as ZHdK - Zurich University of the Arts, Manufacture in Lausanne, and DAS Art Amsterdam, amongst others, as well as devising and facilitating laboratory formats and frames for sharing and producing knowledge. In 2020 together with Marc Streit they founded Imbricated Real, an independent structure for contemporary art practice.
OPEN AiR | Jen Rosenblit and Simone Aughterlony: In Our Decline – a symposium (Co-presented off-site with The Invisible Dog)
Collapsed Architecture (1975) by Alvin Baltrop. Courtesy the artists.
Free with RSVP
RSVP
This program is co-presented off-site with The Invisible Dog Art Center
As part of the research for their performance work The Dumps, and as an extension of their Technical Residency at CPR and co-presented with The Invisible Dog Art Center, Simone Aughterlony and Jen Rosenblit organize In Our Decline, a symposium aroused by an urgent and necessary un-doing of things – aging, un-worlding, decay, ruination, and collapse.
The day-long symposium features performative activations, visual art offerings, and public conversation and engagement with a range of artists, curators, and scholars including A.K. Burns, Caroline Dionne, Jack Halberstam, Ryan McNamara, Felipe Ribeiro, and Avgi Saketopoulou, along with performances by lab participants who will join Rosenblit and Aughterlony in their research, including Effie Bowen, devynn emory, Raja Feather Kelly, Stephen Morrison, Connor Voss, Joseph Wegmann, and Colin Self.
View the Program
This program is an extension of a Spring 2025 Technical Residency with Jen Rosenblit and Simone Aughterlony in March 2025.
Accessibility note: The Invisible Dog Art Center can be accessed via a ramp upon request. Please note the restroom is not ADA accessible.
SYMPOSIUM SCHEDULE
12–12:45 PM | Caroline Dionne and Felipe Ribeiro
Caroline Dionne and Felipe Ribeiro share research and conversation.
Caroline Dionne: In Plain View
Caroline Dionne offers insights from In Plain View, a reflection on the transformation of Freshkills from landfill to landscape, where she explores the convergence of contemporary art and environmental awareness, emphasizing the fragile balance between nature and human impact. Through a series of immersive works, Dionne encourages the audience to contemplate on community, aging, decay, and ruin through the environmental repercussions of modern society.
Felipe Ribeiro: Revolving Actions
Undoing becomes the operative concept for Revolving Actions, a series of site-specific performances developed since 2018. The actions happen in three historical sites, equidistant 1000 kilometers from one another, which mark a triangle in the map of Brazil. At first, studies of movements and compositions of soils subjects the performer’s body to enduring situations of physical instability, which then expands into a non-leading power of agency.
1–2 PM | Jack Halberstam: Unworlding: Anarchitecture After Everything
Empires have often been described in terms of a rise and a fall, a glorious era and an ignominious defeat. This way of describing power, inevitably, allows for mythologies of a once great era that was here but has now gone…but could rise again. In this talk, Unworlding: Anarchitecture After Everything, Jack Halberstam will push back on the model of rising and falling and stay with decline, collapse, ruination. The answer to ruination, moreover, lies less in repair and more in destitution. He will offer a destituting logic for trans bodies, for city spaces and for political futures. We will not look back longingly for a time past but nor will we scan ahead for a better future. Instead, through art works focused on unbuilding, unmaking and precarity, we can think together about our decline and how to embrace it.
2–2:15 PM | 1st Laboratory Performative Activation
Effie Bowen, Stephen Morrison, Joseph Wegmann, Raja Feather Kelly, Connor Voss, devynn emory, simone aughterlony, Jen Rosenblit, and Colin Self.
2:45–3:30 PM | A.K. Burns: What is Perverse is Liquid
What is Perverse is Liquid explores metaphors, qualities, and properties of water such as transmission, transformation, liquid assets, leaks, and water’s essential role in the cycle of life and death. The work is structured as a series of interfaces including peepholes, portholes, computer screens, and other visual “leaks.”
3:30–4 PM | Ryan McNamara: live ruination choreo
A live time lapse. The artist uses everything available; a history of past works, the laboratory artists, the panelists, the theories, the space, microphones, chairs and the public to speculate on aughterlony and Rosenblit`s yet-to-be-made performance, The Dumps. Considering ruins and wreckage this entertaining offering rearranges the room, disorients our focus and leaves us to reflect on what we are left with, our inheritance and our accumulation.
4–5 PM | Avgi Saketopoulou: On the militancy of resisting the reparative: wound and confusional aesthetics
What does it take to make a determined and clear turn towards the anti-reparative? What resources are available to us for such a move, and what are the stakes of adopting a traumatophilic approach to what has already been broken in us and in the world? Drawing on Carolina Mendonça’s performance Zones of Resplendence, Saketopoulou discusses dispossession not as liability but as opening up to the birthing of collectives that do not labor towards the healing of wounds but towards a certain kind of militancy. Key to this militancy is an aesthetic of confusion, which works by frustrating the impulse to grasp what's enigmatic about our wounds and our response to them. Confusional aesthetics are central to art we may think of as ethically sadistic, art that engages us by drawing us into the wound.
5–5:15 PM | 2nd Laboratory Performative Activation
Effie Bowen, Stephen Morrison, Joseph Wegmann, Raja Feather Kelly, Connor Voss, devynn emory, simone aughterlony, Jen Rosenblit, and Colin Self.
5:15–6 PM | Roundtable and open mics with symposium participants and the public
ABOUT THE DUMPS
The Dumps is an extensive research and performance project by Simone Aughterlony and Jen Rosenblit that confronts architectural ruination against a backdrop of the capitalist drive for renewal. Departing from Jack Halberstam’s theory around Un-Worlding and The Aesthetics of Collapse, the project considers an erotics associated with abandoned architecture, often flagging or gesturing toward decline. What is it that gets lost and who do we lose amidst a constant drive to rebuild and refurbish? Is it love for or fear of ruins that determine the drive for futurity based on ownership, heated floors, privatized and insulated views, and the eventual promise of accumulated abundance?
By way of weathered, eroded, collapsing and abandoned architectures, the work refocuses erotics, sex, and sexuality as a public affair. The Dumps is not a site to disregard but an abundance of situations to be reckoned with. In the end, The Dumps might evict us, liberate us, even emancipate us from the promise of progress, not through clarity but through the aesthetics of confusion.
Through the creation of the work, Rosenblit and Aughterlony will host gatherings for local artists in each city where they are in residence, methodically articulating a further unwinding, undoing, aging, and decay associated with the research proposition itself and in resistance to further world-making. Acknowledging that the proposition of collapse is riddled with contradiction amidst the effort to speculate on futurity, in this context, to undo, we must first do, build, arrange, and organize as a way to initiate a focus towards the un-worlding and take stock of all that we have inherited.
IN OUR DECLINE
In Our Decline is a symposium taking place in NYC, nestled between residencies in Brooklyn at The Invisible Dog Art Center and CPR – Center for Performance Research, and positioned site-specifically in the well visited, dwelled, lingered, preserved, and beloved Invisible Dog Art Center, its industrial space, and the vertical stacking of a constantly eroding New York City. With the imminent closing of this community space at 51 Bergen Street, the work also takes on a necessary speculation of demolition in relation to this community space, excavating a promise of collision as being and getting in the way of progress.
Inviting a local network of artists and thinkers, this gathering contemplates and complicates the process of performance making. The symposium seeks to focus without centralizing or, more importantly, without further marginalizing, bodies and communities historically associated with abandoned or deemed-unlivable spaces. In actively inviting the public to tend to the impulse of traumatophilia, the gathering arouses potential and incites a curiosity for the role of rot when acknowledging these ruins that continue to hold us, our fairy tales and our myths, managing to make us distinct from the rubble itself, and considering the wreckage, the weathered, and the decayed as available remnants for a collision with the future, a biased archive of the past, and a sobering recognition for where we are now.
CREDITS
In Our Decline is co-presented by The Invisible Dog Art Center and CPR – Center for Performance Research, both in Brooklyn, NY. Presented in collaboration with Swissnex in Boston and New York with the support of Presence Switzerland, Pro Helvetia Global Travel Grant, Consulate General of Switzerland in New York, and Imbricated Real.
ABOUT THE ARTISTS
Jen Rosenblit makes performances based in Berlin after over a decade of working in NYC. Rosenblit invests in the problems that arise inside agendas of being together, often chipping away inside seemingly impossible spaces. Rosenblit hosts complex narratives of intimacy and autonomy, allowing for content to be emergent rather than determined as the body negotiates repetition, disruption, meaning and memory as we encounter others. Rosenblit’s performance work departs from preciousness and sentimentality in hopes of locating a more potent relevance for how we read and relate to constellations of things happening over time. Reaching for a heightened subtlety of experience by engaging sensation with visual information, the multiplicity of the body as an experiential culture unfolds. Rosenblit builds space for the viewer to experience indentation, for eyes that find molding and packaging, or the revealing and concealing of information to suggest utility as the poetic. The work exists out of bounds, off center, aligning itself to phenomenology rather than images. This research takes time, to perceive things, to relate and re-relate to all things as mattering. Rosenblit is a 2018 Guggenheim Fellow, a recipient of a 2014 New York Dance and Performance “Bessie” Award, a 2023 La Becque (Vevey, CH) artist in residence, and currently teaches at Hochschulübergreifendes Zentrum Tanz Berlin. Rosenblit has collaborated with artists including Simone Aughterlony, Miguel Gutierrez, A.K. Burns, and Philipp Gehmacher in various capacities via performer, writer, creator, and director.
Simone Aughterlony is an independent artist based in Zurich and Berlin, working predominantly in dance, performance, and visual art contexts. They have been devising queer-spirited choreographic works over the last sixteen years. Engaging with alternative forms of kinship inside their process, new constellations emerge as possibilities for reconfiguring a culture of togetherness that fosters both familiar and unknown quantities. Their works playfully compose with representation and its saturation, seeping into and embracing the phenomenology of mis-recognition and the absurd. Aughterlony approaches art making as a practice where they navigate the contradiction between the domination of desire alongside the agency of all elements. They regularly teach at academic institutions such as ZHdK - Zurich University of the Arts, Manufacture in Lausanne, and DAS Art Amsterdam, amongst others, as well as devising and facilitating laboratory formats and frames for sharing and producing knowledge. In 2020 together with Marc Streit they founded Imbricated Real, an independent structure for contemporary art practice.https://www.aughterlony.com
Avgi Saketopoulou is a Cypriot and Greek psychoanalyst practicing in NYC. She serves on the faculty of the NYU Postdoctoral Program in Psychotherapy and Psychoanalysis and her publications have received numerous prizes. Her interview on psychoanalysis is in the permanent holdings of the Freud Museum (Vienna) and her monograph, Sexuality Beyond Consent: Risk, Race, Traumatophilia (NYU Press, 2023) braids psychoanalysis with performance studies, philosophy, and queer of color critique to explore consent’s erotics, the vicissitudes of overwhelm, and the aesthetics of repetition. She is co-author, with Ann Pellegrini, of Gender Without Identity (UIT Press, 2023), and in critical conversation with Dominique Scarfone in The Reality of the Message: Psychoanalysis in the Wake of Jean Laplanche (UIT Press, 2023). She is currently working on her next book project provisionally titled The Offer of Sadism. Her love of psychoanalysis and of queers is rivaled only by her love of motorcycles. www.avgisaketopoulou.com
A.K. Burns is an interdisciplinary artist and educator, working at the nexus of language and materiality. Burns utilizes sculpture, video, installation, writing, and performance—troubling systems that assign value with criticality and humor. A solo survey exhibition in 2023 at the Wexner Center for the Arts, Columbus, Ohio is currently on view at the Henry Art Gallery, Seattle, WA. Along with exhibiting internationally, Burns was awarded the 2023 Berlin Prize Fellowship at the American Academy in Berlin; a 2021 Guggenheim Fellowship; a 2018 NYSCA/NYFA Fellow in Interdisciplinary Art; and a 2016 Radcliffe Fellowship at Harvard University. A.K. Burns is currently an Associate Professor and MFA Co-Director at Hunter College, CUNY, Department of Art and Art History. akburns.net/about-contact/
Caroline Dionne is a scholar and educator with a background in art and architecture criticism and curation. She is Associate Professor of History and Theory of Design Practice and Curatorial Studies at Parsons School of Design at The New School. Her research sits at the intersection of literature, language theory, philosophy, and architecture, and investigates the role of language and the politics of place in design. Her recent book, Design Theory, Language and Architectural Space in Lewis Carroll (Routledge, 2023), proposes design theories of the emergent based on a close reading of the complete works of the nineteenth century writer and mathematician. Other publications can be found in Designing in Dark Times: An Arendtian Lexicon (Bloomsbury, 2020), Reading Architecture: Literary Imagination and Architectural Experience (Routledge, 2018), OASE 96 Social Poetics: The Architecture of Use and Appropriation (NAI, 2016), and Architecture's Appeal (Routledge, 2015). www.newschool.edu/parsons/faculty/Caroline-Dionne/
Jack Halberstam is the David Feinson Professor of The Humanities at Columbia University. Halberstam is the author of seven books including: Skin Shows: Gothic Horror and the Technology of Monsters (Duke UP, 1995), Female Masculinity (Duke UP, 1998), In A Queer Time and Place (NYU Press, 2005), The Queer Art of Failure (Duke UP, 2011), Gaga Feminism: Sex, Gender, and the End of Normal (Beacon Press, 2012) and a short book titled Trans*: A Quick and Quirky Account of Gender Variance (University of California Press). Halberstam’s latest book titled Wild Things: The Disorder of Desire (Duke UP, 2020). Places Journal awarded Halberstam its Arcus/Places Prize in 2018 for innovative public scholarship on the relationship between gender, sexuality, and the built environment. Halberstam is now finishing a book titled Anarchitecture After Everything, which will be published by MIT Press in 2026. Halberstam was recently named a 2024 Guggenheim Fellow. english.columbia.edu/content/jack-halberstam
Felipe Ribeiro (born 1977, Rio de Janeiro, BR) is a visual artist and independent curator, currently based in Switzerland. He’s a visiting researcher at HKB - Bern University of Arts, he has been a visiting scholar in the Transdisciplinarity Master’s program at ZHdK - Zurich University of the Arts since 2022, where he teaches performance art, decoloniality, and global south perspectives. Ribeiro is also an Associate Professor in the Graduate Programs of Dance Studies and Performing Arts at the Federal University of Rio de Janeiro. His academic background includes a Master’s degree in Cinema Studies from NYU, and a PhD in Visual Arts from Rio de Janeiro State University, partially completed at NYU’s Performance Studies Department. His research, “Revolving Actions,” merges durational performance, image-making, and land art, stemming from his early work in experimental filmmaking. Ribeiro’s performances have been featured in major festivals across South America, as well as in Hamburg, Zurich, and Lisbon. From 2009 to 2013, he developed Trilogy of the Image, a series of staged works combining video, essayist texts, and performance. In 2018, he had his first solo exhibition in Rio de Janeiro, and in 2022, he presented [not] here, a duo exhibition at Zurich’s Cabaret Voltaire in collaboration with Swiss artist Sarah Burger. His collaborative projects include artists such as Simone Aughterlony, Eleonora Fabião, Denise Stutz, and Vinicius Arneiro. Felipe Ribeiro is also a founding member and artistic director of Atos de Fala, an international festival dedicated to speech acts and performance, which has been held annually in Rio de Janeiro since 2011. In 2019, the festival collaborated with zurich moves! festival, supported by Pro Helvetia and Swissnex Brazil and co-curated and co-produced with Marc Streit, Head of Arts and Creative industries at Swissnex in Boston and New York. In addition to his curatorial and performance work, Ribeiro is the author of Ruminations: Performance Art in Between Pleasure and Resistance, published in Brazil in 2022 and soon to be re-released in Portugal.
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 Museum (New York), Dallas Symphony Orchestra, ICA Boston, Perez Art Museum (Miami), ICA London, The Garage (Moscow), The Power Plant (Toronto), 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 Museum of Modern Art and The Whitney Museum in New York.www.ryanmcnamara.com
Technical Residency: Nile Harris (closed to the public)
Nile Harris. Photo by Victor Jeffreys II.
The Technical Residency is closed to the public.
Nile Harris has been selected as CPR’s Spring 2024 Technical Resident, where he will develop minor b, a commission for The Shed invited as part of their 2023-24 Open Call program. During his residency, Harris will further develop the choreographic and scenographic elements of the production in collaboration with designers Marie de Testa, Dyer Rhoads, and composer Kwami Winfield, working from the biography of early Jazz cornetist Buddy Bolden, aka King Bolden, as an inception point. For the performance, the collaborative team will create an architectural response to Hudson Yards, positing The Shed's black box theater as a parallel to asylum where King Bolden spent the majority of his life playing his cornet from his storied window.
ABOUT THE ARTIST
Nile Harris stages meditated confrontations between performer and audience that collage various modes of communication: choreography, reappropriated and scripted text, improvisation, spatial design, and clowning. His work has been presented at the Abrons Arts Center, Palais de Tokyo, The Watermill Center, New York Live Arts, Grace Exhibition Space, and Movement Research at Judson Church. As a performer, Harris has originated roles in works by Jaamil Olawale Kosoko, 600 HIGHWAYMEN, Tina Satter, Robert Wilson, Young Boy Dancing Group, Anh Vo, Malcolm-x Betts, Crackhead Barney, and Alex Tartarsky. Harris is a member of the Artistic Leadership Team at Ping Chong and Company.
Technical Residency: Leslie Cuyjet (closed to the public)
Leslie Cuyjet. Photo © Paula Court.
The Technical Residency is closed to the public.
Leslie Cuyjet is CPR’s Fall 2023 Technical Resident. The residency will support final stages of production design and rehearsal for Cuyjet's new evening-length work, With Marion, which will premiere at The Kitchen in late November 2023. For one uninterrupted week, Cuyjet will work in CPR’s Large Studio with access to a robust inventory of a/v equipment and support from CPR production staff.
With Marion is built from memories of and research about Cuyjet's great aunt Marion Cuyjet, a pioneer of dance education for students of color in the 1950s. In a densely mediated performance environment, Cuyjet builds video loops in real time combining archival footage with her own pre-recorded and live-captured video. Questioning the proximity of objects and self, Cuyjet assembles a fragmented, unstable repository of the past in order to redirect a future out from under its thumb.
Leslie Cuyjet is an award-winning choreographer and performer whose work aims to conjure life-long questions of identity, confuse and disrupt traditional narratives, and demonstrate the angsty, explosive, sensitive, pioneering excellence of the Black woman. Since 2004, her tenure in the New York dance world is decorated with performances and collaborations, both formal and informal; with contemporaries, legends, and counterparts; on rooftops, good and bad floors, and alleyways; on stage, in film, art, on tour, and on the fly. “A strong, subtle presence unassumingly ground the stage,” says The New York Times. Recent honors include Foundation for Contemporary Arts Grants for Artists (Dance), Princeton Hodder Fellowship, and an Outstanding Choreographer/Creator “Bessie” Award for her 2021 work, Blur. Cuyjet was a Dance and Process participant at The Kitchen (2020-2021).
Technical Residency: Dynasty Handbag aka Jibz Cameron (closed to the public)
Dynasty Handbag. Courtesy the artist. Photo by Emily Berl.
Spring 2023 Technical Resident Dynasty Handbag aka Jibz Cameron will work in the Large Studio for one uninterrupted week with access to CPR’s robust inventory of a/v equipment and technical support.
The residency will support the final stages of production design and rehearsal for their new work Titanic Depression, which will premiere in May 2023 at Pioneer Works, co-presented by New York Live Arts as part of the Live Ideas Festival.
Using the 1997 film Titanic as a departure point, Titanic Depression by Dynasty Handbag, alter-ego of artist Jibz Cameron in collaboration with video artist SUE-C, addresses issues of class, gender roles, gratuitous wealth, and the environmental impact of climate change. The event – more so a live, multimedia experience than solely performance – features the artist moving deftly in and out of characters, using her outrageous physicality and unique improvisational skills in the retelling of Titanic as an allegory for our present environmental and humanitarian crisis.
Titanic Depression is presented by New York Live Arts' Live Ideas Festival and Pioneer Works, and has received support from Creative Capital, a Guggenheim Fellowship, Ballroom Marfa, MacDowell, Chorus Foundation, + generous donor contributions, in addition to a Technical Residency at CPR – Center for Performance Research.
About the artists
Jibz Cameron is a performer, visual artist, actor and writer. Her multi-media performance work as alter ego Dynasty Handbag has spanned over 20 years and has been presented at arts venues such as The New Museum of Contemporary Art, The Broad Museum, The Hammer Museum, REDCAT, BAM, Centre Pompidou, among others. She has been heralded by The New York Times as “the funniest and most pitch perfect performance seen in years” and “outrageously smart, grotesque and innovative” by The New Yorker. Jibz is a 2022 Guggenheim fellow, a 2021 United States Artist Award recipient, and a 2020 Creative Capital Grant awardee. Jibz produces and hosts Weirdo Night, a monthly comedy and performance event in Los Angeles + New York. Her film Weirdo Night is an official 2020 Sundance Film Festival selection. dynastyhandbag.com
Sue Slagle (SUE-C) is an award-winning artist, engineer and educator whose work in “real time cinema” presents a new, imaginative perspective on live performance. Her evolution as a new media artist began in late-90s San Francisco where she was an influential member of the electronic music scene, owning the experimental record label Orthlorng Musork, organizing audio-visual cultural events and teaching the first creative coding classes in Max Software. After finishing her masters degree in engineering at UC Berkeley she moved to Oakland where she became co-owner of the Ego Park gallery and helped launch the First Friday art walks. Sue is a Creative Capital awardee and MacDowell Fellow and has been covered in The Wire magazine, BoingBoing and the MIT Press book Programming Media. She has performed at the Library of Congress, REDCAT, Ars Electronica, MUTEK, SONAR, Ann Arbor Film Festival, NPR’s Tiny Desk and Transmediale, collaborating with musicians such as Morton Subotnick, Luc Ferrari, Laetitia Sonami, AGF, Paul DeMarinis, Wobbly, Ava Mendoza and Negativland. www.sue-c.net
Chloe Alexandra Thompson is a Cree, Canadian, interdisciplinary artist and sound designer. Thompson approaches sound as a mode of connection—embracing the kinesthetic agency of sound to compose abstract feats of spatialized audio recording and synthesis. Her work engages tactics of material minimalism to create site-specific installations that sculpt droning, maximalist experiences out of space and sound. Using audio programming software, computational processing, and acoustic instruments, Thompson’s work seeks to create connection by guiding audience participants through these augmented experiences. In January 2021, Cycling ‘74, announced Thompson as one of the first Max Certified Trainers. Her sound design has been featured in the works of artists across the fields of music, performance, TV and film. She is presently part of the Working Consortium in developing First Nations Performing Arts. chloealexandra.info
Sacha Yanow (born in Williamstown, MA/ Mohican Land) is a NYC/Lenapehoking based performance artist, actor and organizer. Their recent solo performances are experimental and embodied portraits of the inner lives of archetypal family figures—the father in Dad Band, (2015), the grandmother in Cherie Dre (2018) and currently the uncle —as a way to connect to estranged personal and cultural histories. Drawing from theater and performance art, these intimate works use humor and physicality to explore aging, gender, desire, and Ashkenazi Jewish assimilation. Sacha is also currently working on two collaborative projects: a community-based film series Grey Matter with organizer Bilal Ansari, a creative intervention into settler colonial mythologies of their hometown of Williamstown, MA (Mohican Land); And an embodied dialogue Thank You for the Fire Between Us with Johannesburg-based performing artist Tshego Khutsoane. Sacha's work has been presented by venues including MoMA PS1, Danspace Project, Joe's Pub, and the New Museum in NYC; PICA’s TBA Festival/Cooley Gallery at Reed College in Portland, OR; and Festival Theaterformen in Hanover, Germany. They have received residency support from Baryshnikov Arts Center, Denniston Hill, LIFT Festival UK, Lower Manhattan Cultural Council, Mass MoCA, SOMA Mexico City, and Yaddo. Sacha served as Director of Art Matters Foundation for 12 years, and previously worked at The Kitchen as Director of Operations. They received a BA from Sarah Lawrence College and are a graduate of the William Esper Studio Actor Training Program. sachayanow.com
UP UNTIL NOW: midair for some time (Co-Presented with Up Until Now Collective)
Video still from UP UNTIL NOW (2022). Courtesy Up Until Now Collective.
Timed entry tickets: $0–$25, pay what you can
Thursday, September 15 | 6:00–9:00 P.M.
Friday, September 16 | 6:00–9:00 P.M.
Saturday, September 17 | 12:00–4:00 P.M.
Entry times are every 20 minutes
Purchase tickets
Select times are reserved for the Deaf and Disability community:
Thursday, September 15 | 7:00 P.M.
Friday, September 16 | 7:00 P.M.
Saturday, September 17 | 2:00 P.M.
Purchase tickets
A multi-sensory, immersive installation exploring intimacy, empathy and community, UP UNTIL NOW: midair for some time examines what the future of interactive performance might feel like. In a time when many of us are starved for connection, how do we find our chosen family? How can technology heighten our emotions and augment a sensory experience to make us feel more connected? Featuring the NYC premiere of Up Until Now Collective's short music film UP UNTIL NOW, commissioned by Beth Morrison Projects, and wearable haptics technology provided by Music: Not Impossible, which translates sound onto the skin through vibrations, midair for some time features the collaborative work of two dozen artists from multiple disciplines, and comes at the culmination of Up Until Now Collective’s week-long, research-focused Technical Residency at CPR.
The installation is designed as a 15-minute experience for up to three people, and is fully-accessible to all, including wheelchair users and members of the Deaf and Blind communities. Advance reservations are highly recommended.
UP UNTIL NOW: midair for some time is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council.
Press and Industry Preview
Thursday, September 15 | 5:00–6:00 P.M.
Friday, September 16 | 5:00–6:00 P.M.
CPR and Up Until Now Collective invites press and industry colleagues to preview the installation with advance reservations. Please contact Alexandra Rosenberg, Executive Director, CPR at alexandra@cprnyc.org to RSVP, and include preferred or available times of entry for 5:00 P.M., 5:20 P.M., and 5:40 P.M.
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.
UP UNTIL NOW: midair for some time (Co-Presented with Up Until Now Collective)
Video still from UP UNTIL NOW (2022). Courtesy Up Until Now Collective.
Timed entry tickets: $0–$25, pay what you can
Thursday, September 15 | 6:00–9:00 P.M.
Friday, September 16 | 6:00–9:00 P.M.
Saturday, September 17 | 12:00–4:00 P.M.
Entry times are every 20 minutes
Purchase tickets
Select times are reserved for the Deaf and Disability community:
Thursday, September 15 | 7:00 P.M.
Friday, September 16 | 7:00 P.M.
Saturday, September 17 | 2:00 P.M.
Purchase tickets
A multi-sensory, immersive installation exploring intimacy, empathy and community, UP UNTIL NOW: midair for some time examines what the future of interactive performance might feel like. In a time when many of us are starved for connection, how do we find our chosen family? How can technology heighten our emotions and augment a sensory experience to make us feel more connected? Featuring the NYC premiere of Up Until Now Collective's short music film UP UNTIL NOW, commissioned by Beth Morrison Projects, and wearable haptics technology provided by Music: Not Impossible, which translates sound onto the skin through vibrations, midair for some time features the collaborative work of two dozen artists from multiple disciplines, and comes at the culmination of Up Until Now Collective’s week-long, research-focused Technical Residency at CPR.
The installation is designed as a 15-minute experience for up to three people, and is fully-accessible to all, including wheelchair users and members of the Deaf and Blind communities. Advance reservations are highly recommended.
UP UNTIL NOW: midair for some time is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council.
Press and Industry Preview
Thursday, September 15 | 5:00–6:00 P.M.
Friday, September 16 | 5:00–6:00 P.M.
CPR and Up Until Now Collective invites press and industry colleagues to preview the installation with advance reservations. Please contact Alexandra Rosenberg, Executive Director, CPR at alexandra@cprnyc.org to RSVP, and include preferred or available times of entry for 5:00 P.M., 5:20 P.M., and 5:40 P.M.
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.
UP UNTIL NOW: midair for some time (Co-Presented with Up Until Now Collective)
Video still from UP UNTIL NOW (2022). Courtesy Up Until Now Collective.
Timed entry tickets: $0–$25, pay what you can
Thursday, September 15 | 6:00–9:00 P.M.
Friday, September 16 | 6:00–9:00 P.M.
Saturday, September 17 | 12:00–4:00 P.M.
Entry times are every 20 minutes
Purchase tickets
Select times are reserved for the Deaf and Disability community:
Thursday, September 15 | 7:00 P.M.
Friday, September 16 | 7:00 P.M.
Saturday, September 17 | 2:00 P.M.
Purchase tickets
A multi-sensory, immersive installation exploring intimacy, empathy and community, UP UNTIL NOW: midair for some time examines what the future of interactive performance might feel like. In a time when many of us are starved for connection, how do we find our chosen family? How can technology heighten our emotions and augment a sensory experience to make us feel more connected? Featuring the NYC premiere of Up Until Now Collective's short music film UP UNTIL NOW, commissioned by Beth Morrison Projects, and wearable haptics technology provided by Music: Not Impossible, which translates sound onto the skin through vibrations, midair for some time features the collaborative work of two dozen artists from multiple disciplines, and comes at the culmination of Up Until Now Collective’s week-long, research-focused Technical Residency at CPR.
The installation is designed as a 15-minute experience for up to three people, and is fully-accessible to all, including wheelchair users and members of the Deaf and Blind communities. Advance reservations are highly recommended.
UP UNTIL NOW: midair for some time is sponsored, in part, by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by Brooklyn Arts Council.
Press and Industry Preview
Thursday, September 15 | 5:00–6:00 P.M.
Friday, September 16 | 5:00–6:00 P.M.
CPR and Up Until Now Collective invites press and industry colleagues to preview the installation with advance reservations. Please contact Alexandra Rosenberg, Executive Director, CPR at alexandra@cprnyc.org to RSVP, and include preferred or available times of entry for 5:00 P.M., 5:20 P.M., and 5:40 P.M.
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.
Technical Residency: Up Until Now Collective (closed to the public)
Photo by Marcus Shields.
The Technical Residency is closed to the public.
As the Fall 2022 Technical Residents, Up Until Now Collective will have one uninterrupted week in CPR’s Large Studio with access to our full inventory of audio-visual equipment and hands-on production support.
During the company’s residency, a group of over two dozen artists, designers, producers, and technologists will experiment with various modes of sensory-based live performance and installation, initiating research-based dialogue with members of their artistic community, including the Deaf and Blind communities which are central to their work and practice.
At the culmination of the residency, Up Until Now Collective will present UP UNTIL NOW: midair for some time, from September 15–17, 2022, a co-presentation with CPR. The work is a multi-sensory, immersive installation exploring intimacy, empathy and community, and examines what the future of interactive performance might feel like.
Up Until Now Collective is a New York City-based artist collective co-founded in 2020 by Brandon Kazen-Maddox, Kevin Newbury, Jecca Barry, and Marcus Shields. Committed to inclusive, accessible, and equitable working environments, Up Until Now Collective develops and produces new interdisciplinary work that explores language, empathy, intimacy, and community, and seeks to challenge the status quo by building new structures for artistic creation. Since its inception, the company has collaborated with over 250 artists. www.upuntilnowcollective.com
Technical Residency | Stuart B Meyers
Stuart B Meyers. Image courtesy the artist.
The Technical Residency is closed to the public.
CPR welcomes Stuart B Meyers as the Spring 2022 Technical Resident.
Stuart was a CPR 2020-21 Artist-in-Residence, engaging in embodied research on mysticism and tarot, as well as love and relationships, which fueled the development of YENTA – a divine matchmaker from heaven above. The residency will culminate in the three-night premiere engagement of THE YENTA SHOW! LIVE from BROOKLYN!, a talk-show style performance filmed live and presented by CPR on May 13–15, 2022 as part of the 2022 Spring Season.
Over the course of the week-long residency, Stuart will realize the set and staging for YENTA's talk show, and will fully utilize CPR’s new inventory of filming and live-streaming equipment to facilitate a multimedia television studio for a live studio audience.
CPR’s Technical Residency addresses the lack of advanced technical support made available to NYC dance and performance artists, and offers a unique opportunity for one week of unrestricted access to its theater, production staff, and technical equipment to support the development of new work.
