Culturebot’s EPHEMERAL EVIDENCE at Exit Art
As part of Exit Art’s Collective / Performative group exhibit, Culturebot will present a group project called Ephemeral Evidence.
Ephemeral Evidence consists of a series of collaborative explorations between writers and performing artists to investigate the relationship between practice and skill in performance-making, object-making and context. We propose an experiment in which objects are created directly from the result of the performing artist’s practice – their skilled application of learned techniques. Does the object, existing as residue of the ephemeral event, gain meaning as document or value object in itself? Both? How does the critical dialogue around the performance process and object inform our perception and valuation of the art?
The writer/artist pairs are Aretha Aoki with Maura Donohue, Rebecca Davis with Aaron Mattocks, Arturo Vidich with Jeremy M. Barker and Sarah Rosner & the AO Movement Collective with Alyssa Alpine.
The installations will be durational throughout the day with culminating performances at 5PM.
Saturday, April 21st, the closing day of the exhibit, will feature an all-day display of the created objects, a special performance by Dan Safer and Mike Mikos of Witness Relocation and conclude with COME OVER TO OUR PLACE (5PM) hosted by Andy Horwitz and Chloë Bass which re-creates the post-show hang-out as performance event, bringing together the artists and writers of EPHEMERAL EVIDENCE with other artists, writers, critics and passers-by to discuss the ideas around the exhibit and what it means to be making it at Exit Art, now. Guests are invited to participate, watch, or both. Food and booze will be served.
Ephemeral Evidence will occur on the following schedule:
Tuesday April 17
THE SOLO PROJECT
Aretha Aoki with Maura Donohue
THE SOLO PROJECT is a personal story that attempts to reach beyond the personality of the solo dancer, and will continue Aretha’s interest in the formation of narrative through choreographic structure. Can the dance act as language? Can a visual or literary text be movement?
By bringing together movement, text, sound and video, Aoki’s work allows for the formation of spaces where the unexpected can emerge. She is interested in layering and juxtaposing visual, written and embodied forms to both generate and disturb a sense of character, place and narrative, and often engage in collaboration with artists—dancers, writers and composers–to allow these tensions to surface. Along with this collaborative process, her practice explores disciplinary limits and the ways that dance can interact with other forms without prioritizing one over another, and rather, informing and extending the possibilities each.
Wednesday April 18
Rebecca Davis with Aaron Mattocks
NEWS (working title) is a durational performance that yields a large-scale drawing. Wearing shoes constructed from newspaper, performers walk continuously in a circle on a large sheet of white paper throughout the day until the gallery closes. Over time, the newspaper ink rubs into the white paper, leaving a visual presence of the path walked by the performers.
The work creates a simultaneous physical construction and deconstruction (walking destroys the shoes but creates the drawing) and also a symbolic one—as the drawing underfoot becomes increasingly dark, the headlines from which it was created fade in our collective memories.
Thursday April 19
NOBODY IS PERFECT BUT YOU COME CLOSE
Arturo Vidich with Jeremy M. Barker
The best listener is one who never talks back. As a statement both for and against the uncollectible nature of performance, Vidich will address the septic time bomb of a roadkill victim as a live art object, and fellow performer. The roadkill will absorb the emotions and thoughts of the performer, like a morbid piggy bank, as well as stand in for other objects and people. The event will be thoroughly captured on video, with emphasis on collapsing the hierarchy of live performance, documentation of performance, and performance made for video. During the day, the public will be able to contribute to the performance by teaching something to the performer, or through conversation. Sonic, tactile, and video elements will be prepared on-site, as well as creating the performance score, which will be enacted at 5pm.
Friday April 20
barrish: the scores
Sarah Rosner & the AO Movement Collective with Alyssa Alpine
This installation manifests itself as an open rehearsal, followed by a series of workshops in which participants are invited into the AOMC’s current work in process, barrish, to embody and digest select movement-based improvisational scores central to the work’s logic and aesthetic.
Participants are invited to wrestle with unleashing hysteria and becoming “skinless”, navigating the intimacy of being sewn to another performer for “the string score”, queering notions of masculine certainty and female acquiescence by “glaciering”, or to simply bear witness to the practice and discussion surrounding these scores as they are translated by new bodies.
This exploring/embodying/digestion process both artifacts the score (via the collected/created images, words, and visual intake of the work) and displaces the work’s ephemerality outside of its former boundaries into/onto the performative bodies of those participating. Does teaching a score make performative work less ephemeral? What about verbalizing the concrete ideas, logic, and rules behind the more abstract movements? What parts stick and what parts evaporate? Are these potentially viable strategies for making ephemeral art last?
Taught/Rehearsed by performers Lillie De, Leah Ives, and Emily Skillings, and choreographer/artistic director Sarah A.O. Rosner, with additional credit to performer Anna Adams Stark (not present).
Saturday April 21
Giant Yves Klein All Out Attack (3PM)
In an homage to Yves Klein’s Anthropométries, action painting, and the monster battle films of Godzilla, Dan Safer and Mike Mikos of Witness Relocation will drink around 6 shots of whiskey, cover themselves in paint, and wrestle on a giant canvas. The canvas will then be displayed on a wall as evidence of the physical action that transpired on it, next to a video of the event, the bottle of whiskey, and the paint splattered wrestling costumes.
Performed by Dan Safer and Mike Mikos. Video by Kaz Phillips Safer.
COME OVER TO OUR PLACE (5PM)
hosted by Andy Horwitz and Chloë Bass
COME OVER TO OUR PLACE re-creates the post-show hang-out as performance event, bringing together the artists and writers of EPHEMERAL EVIDENCE with other artists, writers, critics and passers-by for food and conversation. Inspired by Lois Weaver’s THE LONG TABLE, a formalized performance-discussion as an “experiment in participation and public engagement,” this event contextualizes a meal (Chloë Bass’ performance PROCESS DINNER) as a public forum, encouraging informal conversations on serious topics. PROCESS DINNER invites guests to enjoy a dish as its recipe’s component parts: a reminder of the constant making that goes into every art world moment, even the farewell. Guests are invited to participate, watch, or both: as a shared social experience, all guests become observed performers.