Oliver Beer: Vessel Orchestra @ The Met in New York

“Vessel Orchestra” is the first sound-based installation commissioned by The Met. The exhibition includes a musical instrument, a series of live performances, and an installation composed of thirty-two sculptures, utilitarian vessels, and decorative objects selected by Beer from the museum’s collection. Chosen for their natural pitches, which range from low C to high G on the chromatic musical scale, the vessels form an arresting and unexpectedly versatile instrument, comparable to an organ with multiple pipes. During museum hours, a pre-programmed audio interface will play a new composition written by Beer, activating the vessels to play in real time. On Friday evenings, the exhibition features a diverse group of guest artists who perform new compositions and improvisations on this radical musical instrument.

“Vessel Orchestra” is on view through August 11 at The Met Breuer 945 Madison Ave, New York, NY. photographs courtesy of The Metropolitan Museum of Art

Adrian Piper's 'Concepts and Intuitions, 1965-2016' Opens @ Hammer Museum in Los Angeles

Adrian Piper: Concepts and Intuitions, 1965-2016 is the most comprehensive West Coast exhibition to date of the work of Adrian Piper (b. 1948, New York). It is also the first West Coast museum presentation of Piper’s works in more than a decade, and her first since receiving the Golden Lion Award for Best Artist at the 56th Venice Biennale of 2015 and Germany’s Käthe Kollwitz Prize in 2018. Organized by The Museum of Modern Art, this expansive retrospective features more than 270 works gathered from public and private collections from around the world, and encompasses a wide range of mediums that Piper has explored for over 50 years: drawing, photography, works on paper, video, multimedia installations, performance, painting, sculpture, and sound. 

Piper’s groundbreaking, transformative work has profoundly shaped the form and content of Conceptual art since the 1960s, exerting an incalculable influence on artists working today. Her investigations into the political, social, and spiritual potential of Conceptual art frequently address gender, race, and xenophobia through incisive humor and wit, and draw on her long-standing involvement with philosophy and yoga.

For this exhibition, the Hammer is partnering with the Institute of Contemporary Art, Los Angeles (ICA LA) to present Piper’s work What It’s Like, What It Is #3, a large-scale mixed-media installation addressing racial stereotypes. Adrian Piper: Concepts and Intuitions, 1965-2016 in on view through January 6 at Hammer Museum 10899 Wilshire Boulevard, Los Angeles. photographs by Summer Bowie


Rubbish And Dreams @ The Leslie-Lohman Museum Of Gay And Lesbian Art In New York

Rubbish and Dreams: the Genderqueer Performance Art of Stephen Varble, is an exhibition focusing on a performance artist who became iconic in 1970s New York for his disruptive interventions into galleries, public spaces, and financial institutions. Varble would engage in unauthorized and impromptu performance wearing elaborate drag costumes made from street trash, food waste, and stolen objects. His work was decidedly anti-institutional and he disrupted the business of art in the 1970s. For these reasons, he was soon written out of history, and no substantive piece of writing on his practice has been published for 40 years. This exhibition draws on a number of private archives in telling Varble’s story for the first time. RUBBISH AND DREAMS: The Genderqueer Performance Art of Stephen Varble is on view through January 6, 2019 at the Leslie-Lohman Museum of Gay and Lesbian Art, 26 Wooster Street, New York.

No)one. Art House Performs Sky Echo @ The Getty Center

Choreographed by Samantha Blake Goodman, Sky Echo is a psalm whispered to the universe, drifting the dancers in and out of the museum’s fountains. It is a trio performed by Bianca Medina, Chris Emile, and Sasha Rivero. The dancers move in costumes provided by New York-based designer Mara Hoffman to live musical accompaniment by vocalists AKUA and Anthony Calonico. This transcendent performance sways audiences and softly carries viewers to a place of bliss. photographs by Lani Trock

Milka Djordjevich's ANTHEM Is This Weekend's Must-See Show @ Ghebaly Gallery

Milka Djordjevich’s ANTHEM, presented by Los Angeles Performance Practice, currently on a three-night run at Ghebaly Gallery in Los Angeles, is a pulsing kaleidoscope of movement that is difficult to label. Maybe disco dressage comes close, a choreographed disintegration loop, something akin to the rising and fading blips on a Soviet-era heart monitor, performed by a distant artificially intelligent species programmed only with 1.44 megabytes of 20th century cabaret instruction. In actuality the dance is performed by four human women named Laurel Atwell, Jessica Cook, Dorothy Dubrule, and Devika Wickremesinghe. 

According to Djordjevich, ANTHEM utilizes “existing and imagined vernacular dance styles” to explore “labor, play, and feminine-posturing.” You could say that this trifecta becomes a first, second and third act by which to break down the performance, and break down it will. Within the hour-long performance, an innocent playground clapping game turns into a cocaine fever dream that reminds you of Sydney Pollack’s 1969 adaption of Horace McCoy’s 1935 novel, They Shoot Horses, Don't They? It's about a Great Depression-era dance marathon the devolves into desperation, exhaustion, greed and death. ANTHEM is electric and existentially thrilling in the same context. It is a fragmented mirror reflecting an alternate reality that absorbs the viewer within Djordjevich’s enthralling matrix, helped maybe by the droning, undulating music of Chris Peck and theatrical communist bloc, discotheque-toned lighting by Madeline Best.

Each dancer, one with a full Petra Von Kant afro,  arrive in a kind of centipede-like daisy chain, various lackadaisical rhythmic exercises turn into cavalier Saturday Night Fever dance moves performed with brilliantly stolid indifference. Soon, the dancers climb on top of each other, writhing double-deckers of velvet covered flesh. One chews gum, blows bubbles and makes awkward eye contact with the audience. Two of them lose their shoes. At points they all rehydrate and fix their hair as they fall into a hypnotic groove, one of which takes on a texture of movement that has a robotic, cool remove. Mascara, eye shadow and sweat glistens. The dancers slowly succumb to gravity and exhaustion, like bon vivants at dawn. They emerge from their stupor to return from whence they came. The fever has broken and no bitter tears were shed.

ANTHEM has three remaining performances in Los Angeles, Saturday 6/9 at 10pm, Sunday 6/10 at 3pm & 7pm. Ghebaly Gallery is located at 2245 E Washington Boulevard. photographs by Summer Bowie

Debut Performance Of Maceo Paisley's Untangling Manhood @ PAM

On May 25, 2018 PAM hosted the debut performance of Untangling Manhood, Maceo Paisley investigates gender through embodied inquiry, juxtaposing identity and social constructs. Using movement, language, and audience interaction, Paisley guides us through a narrative that goes beyond making art, inviting audiences to confront themselves in the process. photographs by Lani Trock

Samantha Blake Launches "MAPS" @ Navel LA

On Saturday April 28th, Navel LA celebrated the launch of MAPS, Movement Art Performance Space. MAPS was founded by Samantha Blake and is dedicated to cultivating the contemporary and traditional arts of the Afro-Latinx and Caribbean diaspora in Los Angeles. The launch featured three dance performances by Samantha Blake, Chris Bordenave and Vera Passos (respectively), along with a film screening  by Nery Madrid, singing by Felicia ‘Onyi’ Richards, costumes by Gabrielle Datau + Jiro Maestu (Poche) and Desiree Klein, and still photographs by Russel Hamilton, shot during the film’s creation. You can read our interview of Chris Bordenave from our Winter 2017 issue hereNavel LA is located at 1611 S Hope Street Los Angeles. photographs by Lani Trock

Moon Ribas "Waiting For Earthquakes" @ The Chimney In New York

Last night the Catalan artist Moon Ribas performed Waiting for Earthquakes at the Chimney NYC in Bushwick. The one-night performance curated by Adriana Pauly was held in front of the backdrop of Kiran Chandra’s video installation Mother of Intentions. Ribas whose practice investigates the intersectionality of nature, technology and humanity, moved behind the thin curtains of Chandra’s exhibition. The hanging curtains and dancing shadows of the opposing projections mimic the shadow play of Plato’s Allegory Of The Cave, further underlined by the invisible power that determined Ribas’ movements. Ribas physically experiences the vibrations of earthquakes around the world in real time through a sensor implanted in her elbow, giving her an additional sense she calls the seismic sense. She becomes further removed from humanity than the prisoners of Plato’s cave yet more connected to the earth its powerful interplay. photographs by Andres Burgos

"Fall Out Shelter" Maya Jeffereis Gives An Artist Talk and Facilitates Hypothetical Dooms-Day Scenarios at Overnight Projects In Burlington, Vermont

New York based Maya Jeffereis invites participants to engage in a conversation about politics of identity and morality by participating in a military training exercise. The exercise is taken from a US military training document to test officers’ values and decision-making processes. In a hypothetical end of the world scenario, ten people of diverse backgrounds occupy a fall-out shelter. However, the shelter can guarantee survival for only six people. Participants must decide which four are to be excluded from the group in order that the remaining six may live to rebuild society. In this exercise, participants must argue in favor of and against each of the occupants until the group reaches a full consensus. "Fall Out Shelter" will be held at Overnight Projects on January 16, 2016 in Burlington, Vermont. 

Not Fleshy Enough Performance at Faith Holland's Solo Exhibition @ Transfer in Brooklyn

Faith Holland is young, and shaking things up. Her exhibition at Transfer in Bushwick, ‘Technophillia,’ presents a strong palette that suggests an examination of the modern links between tech and sex. The centerpiece of the exhibition, entitled ‘Visual Orgasms,’ features a series of looped images emblematic of the co modifying of sex. Her ‘Ookie Canvas’ canvas abstractions are composed of ejaculations selected from porn and lenders’ own photographs. Holland’s work resonates easily as it focuses on two of literally everyone’s primary obsessions: technology and sex. Along with Giovanna Olmos, Holland hosted “four performances on the digitally mediated body’ last Friday night. Alexandra Marzella, who was featured in Autre last week, performed an interpretative dance that was both mentally stimulating and sexually provocative. Not only is her work interesting, she is also a good dancer overall, and the performance worked on two levels. Shireen Ahmed presented a play in which she handed a script to two audience members (both guys, as it turned out) in which the lines read as text conversations between a series of pairs of people. The texts were sexual in nature, emblematic of the over-sharing commonly found in private text messages. Monica Mirabelle choreographed a group dance with one man and several women wearing close to nothing and gyrating in unison. The uniformity reminded me of Vanessa Beecroft on a smaller scale. But unlike Beecroft the movement was more of the focus, rather than the bodies. Finally, curator Olmos gave her performance of unique performance art. Olmos gets held upside down and blows bubbles into a glass of milk, and some chewed skittles held a prominent position in the performance. It is nice to see that New York’s art world is not as dead as some people think it to be, and that there is such strong camaraderie and shared ideals amongst a group of very young artists. photographs and text by Adam Lehrer. Follow Autre on Instagram: @AUTREMAGAZINE

Read Our Intimate Text Interview With Exhibitionist and Performance Artist Alexandra Marzella

Alexandra Marzella is an exhibitionist in the purist form – zits, bodily fluids, and armpit hair are all on full display. She is also beautiful, but eschews many of the expectations that society has for women: she rarely wears makeup, her eyebrows are unkempt and her selfies are the opposite of the countless duck face tragedies that bombard most social media feeds. Basically, she lets her freak flag fly and doesn’t give a fuck what you think. I first saw her perform at the Standard Hotel Miami back in December – in a little poolside bungalow – as part of an exhibition by Petra Collins presented by nightlife impresario André Saraiva. In a small, cramped room she writhed as she stripped naked, while getting water poured on her from friend, collaborator, and fellow artist India Menuez – Wet’s “Don’t Want to Be Your Girl” played in the background. It was exciting, erotic, strange and captivating – Marzella was not only stripping off her clothes, she was also stripping off parts of her soul and the audience was too close not to get splashed, which felt intrusive, but also incredibly viscerally engaging. It’s almost like Marzella has created a new form of art out of stripping. Indeed, Marzella, who is based in New York, is part of a new wave of young female artists that are using their youth, bodies, and femininity to say fuck you to the jock rapist culture that dominates the culture. Whatever she is doing, she should keep doing it. In the following text interview Marzella talks about her initial inclination to shun art, her time as a cheerleader and her take on nudity in performance art. Click here to read the interview.