Artist driven and oriented, SPECIAL EFFECTS gathers experimental performance works by practitioners exploring contemporary issues. Drawing on a network of over 68,000 artists who are part of www.contemporaryperformance.com, the festival samples the diversity and richness of the discipline of performance and presents an open forum for critical thinking on the issues of the day.
Friday, January 15 at 8 PM
GRAY SPACES, curated by Eli Steffen
GRAY SPACES is an investigation of what it means for humans to bridge the spaces and times between people. To seek connection is to look to the future, to what José Esteban Muñoz calls the “not-yet-conscious,” where what we will be diverges from what we are or can be in the present. These five works explore the human instinct to bond, belong and be seen through a wide range of mediums and performance styles. The result of which is a startling complex and beautiful picture of what being human might mean, now and in the future.
GRAY SPACES performances are:
Welcome to 2016. Your world is digitally generated, politically extremist, resource-depleted, selfie-obsessed, twerk-a-licious, and pushing at the margins of community sanity. Some might even say we no longer await the apocalypse. GENERAL DYNAMICS was developed in residency at Chez Bushwick with Mieke D, Liz McAuliffe, and Chloé Rossetti.
THE WEDDING by Eric F. Avery
“The Wedding” is an EXPERIMENT or maybe it’s a ceremony. No! a ritual. The difference?. The Wedding wants to predict the future… but might actually be the future. The Wedding isn’t not a performance and a gathering. ThE wEdDiNg NeEdS tHe AuDiEnCe. No-viewers. Better: participants.
HAPPY TO SEE YOU by Cara Francis
In Happy To See You, audience members will act as subject and spectator as they are watched (and watch themselves being watched) by cameras, an audience and a drone. Happy To See You highlights the anxiety that arises from being both entranced by and hyper-aware of your own over-exposure.
EMBARRASSED OF THE WHOLE by Panoply Performance Laboratory
Panoply Performance Laboratory performs Embarrassed of the Whole #15, a bodily process interpreted from responses to an online survey. PPL use users and they use us, in a feedback loop of performative association, representation, sonic explication, attempts at conceptual embodiment, and theatrical demonstration.
LAND PROJECT : PLACELESSNESS by Lisa Parra and Daniel Pinheiro
LAND PROJECT : Placelessness is a figurative place divided in two by a screen, the binding support of our relationship that is built on different online encounters exploring ways to move and be together while in remote locations.
Friday, January 15 at 10:30 PM & Saturday, January 16 at 11AM
THE INSCRIPTION PROJECT, choreographed by André M. Zachery, with music by Jeremy Toussaint-Baptiste + Mos Def + Flying Lotus
Performed by the Renegade Performance Group
Sound Arrangement and Design: André M. Zachery
Multimedia + Set Design: André M. Zachery
Visual Images: Aaron Lazansky “Spazecraft”
Lighting Design: JC Moore
Produced by Renegade Performance Group
The Inscription Project looks at the practice of graffiti as tool of AFROFUTURISM. Developed by young Black and Latino’s in the South Bronx in the 1970’s in what would become known as the original Hip-hop movement, the practice would spread globally as a tool of artistic resistance by oppressed people. This piece draws inspiration from the late artist – Rammellzee, whose pioneering philosophy of “Gothic Futurism” influenced what would become known as “wildstyle” and transform graffiti writers into their own artistic canon. Currently and ironically, graffiti, once a symbol of blight and dysfunction, is now used as a tool of urban gentrification. However, the roots of graffiti as a messaging system for the oppressed will remain in tact no matter the context, condition, or circumstance of its placement.
Saturday, January 16 at 8 PM & 10:30 PM
TIGHTROPE ROUTINES (A Feminist Artist Interviews the Internet’s Most Infamous Misogynist), written and performed by Angela Washko
Tightrope Routines is a storytelling performance by Angela Washko based on several months of exchanges between the self-identified feminist artist herself and a pick-up artist, author, blogger and notorious manosphere leader deemed “the web’s most infamous misogynist."