Eventos del Hemisférico en Nueva York

Conjuring the Archive: An Artist Talk and Conversation with Jess Dobkin 

Thursday, April 25, 2019
12:30-2:00 pm

Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003

*Live video broadcast will be available here starting at 12:30 pm (EST). 
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In this conversation, Visiting Artist in Residence Jess Dobkin approaches the archive as both site and material to investigate the lifespan and spirit life of performance art. Building on her ongoing research in performance archives around the globe, Dobkin interrogates the relationship between live performance and documentation to explore the dynamic ways that performance can exist before and beyond the live event.

As she works with the Hemispheric Institute to finalize a digital collection of her materials, Dobkin invites us to consider: What happens when boundaries blur and the documentation becomes the performer? What happens when an audience creates an archive, or when an archive becomes a space for performance? How might artists use physical, digital, and energetic archival materials in the creation of new artworks?

Jess Dobkin is an internationally acclaimed artist. Her performance and curatorial projects are presented at museums, galleries, theatres, universities and in public spaces internationally. She was active in the downtown performance art scene in New York City before moving to Toronto in 2002. Recent projects include her 2017 Dora-nominated performance, The Magic Hour, which was developed through The Theatre Centre Residency program with support from the Canada Council, Ontario Arts Council and the Toronto Arts Council. She created The Artist-Run Newsstand (2015-2016), a one-year artist-run newsstand that operated in a vacant subway station newsstand kiosk. Her Lactation Station Breast Milk Bar (2006, 2012, 2016) continues to receive significant scholarly consideration and media attention. Her photographic images, created to accompany her performances, are also published and exhibited as stand-alone works. 

About the Hemispheric Institute Digital Video Library (HIDVL) 

The Hemispheric Institute Digital Video Library (HIDVL) is the first major digital video library of performance practices in the Americas. Created in partnership with NYU Libraries and with the support of the Andrew W. Mellon Foundation, this growing repository guarantees historical preservation and free, online access to almost 900 hours of video through the Hemispheric Institute website. A trilingual profile (English, Spanish and Portuguese) is created for each collection, contextualizing the videos with detailed production information, synopses, image galleries, texts, interviews, bibliographies, and additional materials. Artists and organizations always retain the copyright to all their videos, as well as the original material, which is returned after digitization. With video documentation spanning nearly five decades, the collections seek to promote dialogue and a deeper understanding of performance and politics in the Americas.

Photo: David Hawe. Image provided courtesy of the artist.

This event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.

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Website Launch and Panel Discussion:

Ecologies of Migrant Care: Protecting Migrants, Defending Rights 

     

Thursday, April 4, 2019
6:00-8:00 pm

Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003

*Live video broadcast will be available here starting at 6:00 pm (EST)
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To celebrate the launch of the Ecologies of Migrant Care website, the Hemispheric Institute invites you to a roundtable discussion with leading figures in the movement for migrant justice. Panelists will discuss the immediate challenges facing migrants and immigration activists in this political moment, as well as long-term strategies for building coalitions and strengthening the movement.

Please join us as we hear from activists and scholars working to defend and demand the rights of migrants, and to learn more about the resources available on the EMC platform.

Panel participants include:

Sara Gozalo is the Supervising Coordinator of the New Sanctuary Coalition of New York City, where she has worked since 2016. She coordinates the NSC’s asylum clinic for immigrants without attorneys and the NSC’s accompaniment program, which provides people in danger of deportation with teams of community members to accompany them to hearings before federal immigration authorities. She also helps organize political actions and demonstrations led by the NSC. She has volunteered as an interpreter and in the Dilley Detention Center in Texas, assisting Central American families facing deportation. Sara is originally from Madrid, Spain. She is a queer immigrant and a lifelong advocate for social justice and immigrants’ rights who believes in a world without borders, where everyone has the right to live in dignity.

Aldo Ledón Pereyra is a member of Voces Mesoamericanas and the Transborder Board of Migrations & Gender. His work focuses on the search for missing migrants, the use of forensic procedures for identification, the psychological and social care of victims, and the implementation and monitoring of governmental mechanisms for the legal protection of human and labor rights.

Alexandra Délano Alonso is an Associate Professor and Chair of Global Studies at The New School and the current holder of the Eugene M. Lang Professorship for Excellence in Teaching and Mentoring. She received her doctorate in International Relations from the University of Oxford. Her work focuses on diaspora policies, the transnational relationships between states and migrants, migration in the Central America-Mexico-US corridor, sanctuary, and the politics of memory in relation to borders, violence, and migration.

Jamila Hammami is a queer, non- binary first­ generation Tunisian­ Arab American mixed person of color community organizer & social worker from the south, now based in NYC. As a long time organizer, they are a founder and Former Executive Director of the Queer Detainee Empowerment Project (QDEP). In the summer of 2018, they left QDEP to pursue a doctorate of social work, focusing on community organizing, research, and to teach in the social work and community organizing departments at Hunter College.

Pastor Fabian Arias is the pastor of Iglesia de Sion, a Spanish-speaking congregation of Saint Peter’s Church in New York City. A native of Argentina, Pastor Arias moved to the United States in the 1990s. The people of Saint Peter’s Church accompanied Pastor Arias throughout the immigration process. He completed seminary training and was ordained in 2003. He has led Iglesia de Sion ever since.

Diana Taylor, Marcial Godoy-Anativia, Pablo Dominguez Galbraith, Amanda Sommer Lotspike, and Alexei Taylor from the EMC team will be presenting the website.

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About Ecologies of Migrant Care 

Ecologies of Migrant Care (EMC) is an initiative of the Hemispheric Institute that aims to research, document, and make visible the ongoing humanitarian emergency of refugee migrants from Central America as they cross Mexico towards the United States, and the diverse and widespread responses to this situation by individuals, communities of faith, non-governmental organizations, and social movements across the region.

The EMC website houses nearly 100 interviews with migrants, activists, faith leaders, journalists, academics, and artists working to defend and demand the rights of refugee migrants across the region, in addition to photo galleries, artistic interventions, news updates, and additional resources.

This work is supported by the Henry Luce Foundation. For more, please visit https://migration.hemi.press

This event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue. 

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Dancing While Black: Black Bodies | White Boxes | Publication Launch 

Thursday, March 14, 2019
6:00-8:30 pm

Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003

*Live video broadcast will be available here starting at 6:00 pm (EST). 
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The Hemispheric Institute and Angela’s Pulse cordially invite you to an evening celebrating the launch of Dancing While Black: Black Bodies | White Boxes. This new digital platform, developed with HemiPress, is dedicated to the voices and visions of Black dance artists. A moderated conversation with contributors will be followed by a reception.

About the Publication
After two years of dreaming, mulling, strategy conversations, and research, Angela's Pulse has finally realized the creation of a digital journal. Made in partnership with the Hemispheric Institute of Performance and Politics and funded by The Surdna Foundation, Dancing While Black: Black Bodies | White Boxes is the collaborative effort of 33 contributors, editors, artists, advisors, and designers. Intentionally keeping Blackness at the center, the Journal explores themes of Black bodies, Black space, and white boxes. 

About Dancing While Black
Dancing While Black is an artist-led initiative that supports the diverse work of Black dance artists by cultivating platforms for process, performance, dialogue, and documentation. We bring the voices of Black dance artists from the periphery to the center, providing opportunities to self-determine the languages and lenses that define their work. 

About Angela's Pulse
Angela's Pulse creates and produces collaborative performance work dedicated to building community and illuminating bold new stories. Angela’s Pulse provides a home for interdisciplinary collaborations that thrive on both politics and play, and is committed to developing timely performance works that provoke, inform, and inspire. Co-founded by Paloma and Patricia McGregor, Angela’s Pulse was named for their mother Angela—an artist, teacher, and activist who continues to inspire the sisters’ work. 

About HemiPress
HemiPress is the Hemispheric Institute’s digital publications imprint, created to house and centralize our diverse publication initiatives. Using a variety of customized open-source digital humanities platforms, HemiPress includes the Gesture short works series, the Duke U.P./HemiPress digital books, stand-alone essays, and the Institute’s peer-reviewed journal emisférica, alongside interviews, Cuadernos, and other online teaching resources. It also provides state-of-the-art multilingual publication capacities and immersive formats for capturing the “live” of performance, as well as a digital “bookshelf”—the interface that houses all of the Institute’s publications and connects communities of readers across the Americas.

Photo: Rashida Bumbray & Adenike Sharpley, Run Mary Run, by Shani Jamila.

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“Documenting Performance: Queer Nuyorican Archival Poetics” | Lecture by Karen Jaime 

Thursday, March 14, 2019
12:30-2:00 pm

Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003

*Live video broadcast will be available here starting at 12:30 pm (EST). 
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In this talk, Karen Jaime interrogates the difficulties faced in attempting to establish an historic archive of performance at the Nuyorican Poets Cafe. Jaime draws on over 20 years of experience as both a scholar and artist who worked and performed at the Cafe since the late 1990s, and as a current member of the Nuyorican Poets Cafe Founders Archive Project. Her work with the Founders Archive Project seeks to trace a lineage beginning with the organic artistic gatherings in Miguel Algarín’s living room to poetry slams in the early 2000s. Fueled primarily by the queer, Nuyorican, and other marginalized voices at the Cafe, these at-risk archives beg the questions: What are the cultural and economic politics enabling the archival process? Who and what deserves to be remembered?

Karen Jaime (Ph.D., Performance Studies, NYU) is Assistant Professor of Performing and Media Arts and Latina/o Studies at Cornell University. A Woodrow Wilson Career Enhancement Junior Faculty Fellow, and Scholar in Residence at the Hemispheric Institute of Performance and Politics at NYU, Karen is also an accomplished spoken word/performance artist. She served as the host/curator for the Friday Night Slam at the world-renowned Nuyorican Poets Cafe, participated in the spoken word documentary Spit!, and was featured in the Emmy-award winning CUNY-TV program Nueva York, a show focusing on the different aspects of Latin@ culture in New York City. Karen’s current monograph, The Queer Loisaida: Perfomance Aesthetics at the Nuyorican Poets Cafe, argues for a reexamination of the Nuyorican Poets Cafe as a historically queer space, both in terms of sexualities and performance practices. She has published in: Women and Performance: A Journal of Feminist Theory, emisférica, Small Axe: A Caribbean Journal of Criticism, and in TSQ: Transgender Studies Quarterly. In addition, her poetry is included in:The Best of Panic! En Vivo From the East Village, Flicker, and Spark: A Queer Anthology of Spoken Word and Poetry, in a special issue of Sinister Wisdom: A Multicultural Lesbian Literary and Art Journal, “Out Latina Lesbians,” and in the anthology Latinas: Struggles and Protest in 21 Century USA.

About the Nuyorican Poets Cafe

Over the last 40 years, the Nuyorican Poets Cafe has served as a home for groundbreaking works of poetry, music, theater and visual arts. A multicultural and multi-arts institution, the Cafe gives voice to a diverse group of rising poets, actors, filmmakers, and musicians. The Cafe champions the use of poetry, jazz, theater, hip-hop, and spoken word as means of social empowerment for minority and underprivileged artists. Our community of spectators, artists, and students is a reflection of New York City’s diverse population; Allen Ginsberg called the Cafe “the most integrated place on the planet.” Founded in 1973, the Nuyorican Poets Cafe began as a living room salon in the East Village apartment of writer and poet Miguel Algarín along with other playwrights, poets, and musicians of color whose work was not accepted by the mainstream academic, entertainment, or publishing industries. By 1975, the performance poetry scene had started to become a vital element of urban Latino and African-American culture, marked by the release of a “Nuyorican Poetry” anthology and Miguel Piñero’s “Short Eyes,” which was a hit on Broadway. By 1981, the overflow of audience and artists led the Cafe to purchase a former tenement building at 236 East 3rd Street, and to expand its activities and programs from the original space on East 6th Street.

About the Hemispheric Institute Digital Video Library (HIDVL)

The Hemispheric Institute Digital Video Library (HIDVL) is the first major digital video library of performance practices in the Americas. Created in partnership with NYU Libraries and with the support of the Andrew W. Mellon Foundation, this growing repository guarantees historical preservation and free, online access to almost 900 hours of video through the Hemispheric Institute website. A trilingual profile (English, Spanish and Portuguese) is created for each collection, contextualizing the videos with detailed production information, synopses, image galleries, texts, interviews, bibliographies, and additional materials. Artists and organizations always retain the copyright to all their videos, as well as the original material, which is returned after digitization. With video documentation spanning from the 1970’s to the present, the collections seek to promote dialogue and a deeper understanding of performance and politics in the Americas.

Photo credits: Mikael 'Mika' Väisänen. Nuyorican Poets Cafe, 1998.

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"Poéticas del resto: Imagen, memorias y archivadores en la escena tijuanense" por Alina Peña Iguarán | Lecture

Thursday, March 7, 2019 | Jueves, 7 de marzo de 2019
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th floor, Room 503
New York, New York 10003

*This talk will be in Spanish. | Esta charla será en español.*
*Live video broadcast will be available here starting at 6:00 pm (EST). | Live stream estará disponible aquí desde las 6pm.* 

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Esta charla pretende indagar las prácticas artísticas contemporáneas en Tijuana como figuras escópicas que reconfiguran el paisaje fronterizo a contrapelo de los discursos de la seguridad, que buscan delimitar y escenificar la delincuencia, la amenaza del otro, la basura migrante al sur de la frontera de Estados Unidos. De estas prácticas se desprende la línea analítica que permite pensar el residuo en su clave temporal y no solamente como el desperdicio de la máquina gubernamental en tanto aquello que queda fuera de la producción y deviene basura, desecho. Es decir, aquellos remanentes que persisten al tiempo, pero que han caído en el olvido y son recuperados por el ejercicio de la memoria que al armar otros archivos posibilita distintas narrativas de reconocimiento. 

Las recientes apuestas creativas audiovisuales en Tijuana se preguntan por el tiempo y trabajan con imagen, testimonio, mapas, objetos y recorridos como excedentes de sentido, para articular otros sentidos que al repetirse montan una suerte de archivo específico en relación a los rostros del bordo y de una ciudad que está en constante metamorfosis entre el abandono, el despojo y la demolición. Se propone, entonces, la noción de archivo no como un acervo estable, mucho menos canónico, tampoco como un repositorio monumental sino como un modo de relación con el tiempo a partir del trabajo audiovisual. Pero más aún como un ejercicio de crítica de la memoria que implica al arte como trabajo etnográfico anclado en un espacio-palimpsesto que permite generar un extrañamiento para desmontar la gramática espectacular de la frontera. Este ejercicio de indagación pretende pensar la memoria y el archivo como contra-dispositivos metodológicos para la creación de narrativas irruptoras que disputan la producción de significados.

Alina Peña Iguarán es profesora investigadora del Departamento de Estudios Socioculturales del ITESO, Universidad Jesuita de Guadalajara y parte del Sistema Nacional de Investigadores (SNI). Es doctora por la Universidad de Boston en el Departamento de Estudios Hispánicos. El proyecto de tesis del doctorado se enfocó en trabajar la relación entre la escritura autobiográfica en contextos de guerra a partir de la figura del intelectual en la construcción sociocultural del México post-revolucionario. Temas de interés: estética y (bio)política; memoria y subjetividad en contextos de violencia y desaparición. Su investigación actual, “Poéticas de la excedencia: Prácticas audiovisuales en escenarios de frontera,” se enfoca en la noción de frontera y la producción audiovisual artística que la aborda. Su ensayo “Poéticas de la delincuencia: expulsiones y ciudadanías” fue publicado en emisférica en el 2018.

IMAGEN: Alejandro Zacarías, Sentido contrario (2013) 

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"Pinche Indio" | Artist Talk by Benvenuto Chavajay

Monday, February 25, 2019
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th floor, Room 503
New York, New York 10003

*Live video broadcast will be available here starting at 6:00 pm (EST).*
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In the wake of the insults targeting Roma actress Yalitza Aparicio (Mixtec-Triqui) in Mexican social media following her 2019 Oscar nomination—she was openly referred to as ‘pinche india’—indigenous Guatemalan artist Benvenuto Chavajay (Tz'utujil-Maya) invites us to reflect on the currency of racism in the Americas, and explore the ways in which art, through its power to name and rename, can upend colonial legacies and heal racist wrongs. Chavajay will discuss his work to correct the name given to Guatemala’s National Stadium in the 1960s. The stadium was (mis)named “Mateo Flores” in honor of the Kakchiquel-Guatemalan athlete Doroteo Guamuch Flores, who won the Boston Marathon in 1952 and whose name was changed because it was allegedly too difficult to pronounce. Through a series of public actions, which included tattooing the athlete's national identity card on his back, Chavajay pressured authorities to correct the name of the stadium. In September 2016, Bill #42-2016, proposed by the artist, was enacted into law and the arena’s name officially changed to Estadio Nacional Doroteo Guamuch Flores.

*This talk will be in Spanish with simultaneous English translation.

Benvenuto Chavajay Ixtetela graduated from the Rafael Rodriguez Padilla School of Plastic Arts, in Guatemala and later studied at the National University of Costa Rica and the Superior School of the Arts in Nicaragua. His recent exhibitions include in SITElines 2018: New Perspectives on Art of the Americas, Santa Fe, NM; X Bienal de Centro America, San Jose, Costa Rica (2016); Who Are You, Museo MOlAA, Los Angeles (2016); 10 Mercosul Biennial, Porto Alegre, Brazil (2015); I Bienal del Sur. Pueblos en Resistencia, Caracas (2015), KADIST Foundation, San Francisco (2015), and Indigeneity, Decoloniality and Art, Fredric Jameson Gallery, Duke University, Durham, NC (2015). Among his distinctions are: First prize at the Juannio Latin American Art Auction (2008); the “Promising Talent” award of the Botran Foundation (2002); finalist at HABITART, Contemporary Central American Art (2003), and first prize at the September 15th Central American Competition (2004). His work ranges from performance to sculpture, and explores indigenous identity, decolonial theories, and the reshaping of everyday aspects of community life. 

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         The event is free and open to the public. A photo ID is required to enter NYU buildings and 20 Cooper Square is a wheelchair accessible venue. 

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A Connection to Power: On Art, Land, and Food Sovereignty | Panel Discussion

Thursday, February 28, 2019
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th floor, Room 503
New York, New York 10003

*Live video broadcast will be available here starting at 6:00 pm (EST).*
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Peoples and communities have the right to maintain their own spiritual and material relationships to their lands...this implies the full recognition of their laws, traditions, customs, tenure systems, and institutions, and constitutes the recognition of the self-determination and autonomy of peoples. Declaration of the International Forum for Agroecology, Nyéléni, Mali, February 27, 2015

What possibilities in art and community-centered agriculture contribute toward re-establishing dispossessed people’s relationship to land as a means to reclaiming the commons and undoing settler-colonial structures? A Connection to Power: On Art, Land, and Food Sovereignty features artists, activists, and urban farmers discussing movements around indigenous land rights, black liberation, food justice, and art in the midst of climate change.

Organized and moderated by Hemi Artist-in-Residence Alicia Grullón, in association with VoltaCares and the Volta Art Fair, panelists include Sheryll Durrant from the Kelly Street Garden in the South Bronx, artist and activist Marz Saffore from Decolonize This Place, and Indigenous rights activist Monte Stevens Jr. from the Colorado River Indian Tribes. This is an evening framed to consider artistic practices and growing food as acts of self-defense and essential to surviving devastating environmental changes. A reception will follow. 

Alicia Grullón, a 2018-2019 Hemi Artist in Residence, directs her interdisciplinary practice towards critiques of the politics of presence, arguing for the inclusion of disenfranchised communities in political and social spheres. She is co-organizer and co-author of the People’s Cultural Plan, a coalition of artists, cultural workers, and activists responding to New York City’s first ever cultural plan in 2017. Her work has been shown at the Bronx Museum of the Arts, El Museo del Barrio, Columbia University’s Wallach Art Gallery, BRIC Arts, Spring/Break Art Show, and Performa 11, among others. Grullón is also a contributing author to Rhetoric, Social Value and the Arts: But How Does it Work?, ed. Nicola Mann and Charlotte Bonham-Carter (Palgrave Macmillan, London). Recent activities include the Shandaken Project inaugural artist residency on Governors Island and the Bronx Museum of the Arts AIM Alum program at 80 White Street. Grullón is an adjunct professor at School of Visual Arts (SVA) and City University of New York (CUNY). 

A former marketing executive, Sheryll Durrant is an urban farmer, educator, food justice advocate, and a graduate of Farm School NYC. A 2015 Fellow of the Design Trust for Public Space, Durrant is currently the Garden Manager at Kelly Street Garden, and Farm Coordinator for New Roots Community Farm, managed by International Rescue Committee (IRC) — both in the South Bronx. Named by Food Tank as one of the Leading Food System Thinkers, Durrant’s work has been featured in The New York Times, WNYC, Yes! Magazine, and Ecowatch. Kelly Street Garden was recognized by the United Nations as one of only 3 gardens in North America for the "Feed Your City" initiative in 2017. As director of the urban farm and garden program for Sustainable Flatbush, Durrant developed community based urban agricultural projects in Brooklyn including a medicinal and culinary herb garden as an outdoor classroom on the grounds of The Flatbush Reformed Church, in partnership with Sacred Vibes Apothecary. She has presented workshops and talks at the MET Breuer, Black Farmers & Urban Gardeners Conference, Just Food, and Green Thumb Grow Together Conference. 

Marz Saffore is a co-founder and co-facilitator of Decolonize This Place (DTP), an action-oriented movement centering around Indigenous struggle, Black liberation, free Palestine, global wage workers and de-gentrification, and a member of MTL+ Collective. Since 2016, DTP has organized an Indigenous Peoples Day/Anti-Columbus Day tour of the American Museum of Natural History in New York City. Saffore is currently working on a PhD in Media, Culture, and Communication at New York University. She is an adjunct professor in the Department of Art & Art Professions at NYU Steinhardt.

Monte Stevens Jr. is a water protector and proud member of the Colorado River Indian Tribes. Grandchild of Radical American Indian Movement activists, Stevens was raised with future-oriented parents who provided a foundation for their political views around Indigenous people, queerness, settler-colonialism, white supremacy, and academic supremacy. Stevens’ resistance has been through their existence as a femme queer Indigenous individual. Involved in direct actions against the Army Corp of Engineers on the atrocities at Standing Rock, Stevens has extended their activism in New York City to support efforts to build decolonization commissions in NYC museums, and to repatriate stolen artifacts to Indigenous communities. Stevens is currently pursuing social work studies at New York University. 

About VOLTA Cares

VOLTA New York is a contemporary art fair comprised of solo projects by leading and emerging international artists. VOLTA Cares was initiated in 2018 as a multitiered social programming outreach by the New York fair to more meaningfully connect with all levels of cultural purveyors, from public school students to patron collectors.

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         The event is free and open to the public. A photo ID is required to enter NYU buildings and 20 Cooper Square is a wheelchair accessible venue. 

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The Cabinet of Curiosities: Destruction, Remains, and Performance | Artist Talk 

 

Monday, February 11, 2019
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th floor, Room 503
New York, New York 10003

*Live video broadcast will be available here starting at 6:00 pm (EST).*
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Why do we insist on perceiving reality and its materiality as definitive, stable, and finished to the detriment of temporary, renewable, and precarious spaces and things? How do destructive strategies and the permanent production of waste affect the artist’s perception and imagination?

Exploring the relations between material precariousness, consumption, and performance, this talk will take us on a journey through urban environments to examine their remains as a Cabinet of Curiosities, finding in them paths to elucidate our ways of inhabiting and representing the world.

Join us for this talk, The Cabinet of Curiosities: Destruction, Remains, and Performance, by Renato Bolelli Rebouças, Hemi Visiting Scholar and Brazilian art director, scenographer, researcher, and performer. 

Renato Bolelli Rebouças is a Brazilian art director, scenographer, researcher, and performer based in Sao Paulo. He collaborates with many artists and companies from theatre, dance, performance, visual arts, and cinema in Brazil and abroad, and has been presenting his work in Sao Paulo, Rio de Janeiro, Manchester, Berlin, Prague, Beirut, Antwerp, Lisbon, and Taiwan in partnership with Grupo XIX de Teatro, Marta Soares, Cia. do Latão, Frank Castorf, Bert Neumann, MAPA Teatro, Lowri Evans, among others. He coordinates projects, workshops, and curatorship in scenography expanded, urban intervention, and performance, and teaches at undergraduate and graduate scenography schools in Brazil. Bolelli Rebouças also coordinates transdisciplinary projects at the UAP collective art platform in Sao Paulo’s countryside. He is currently a Ph.D. researcher at the University of Sao Paulo's Laboratory of Performative Practicesand a visiting scholar at Performance Studies/NYU. | www.bolellireboucas.com

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         This events is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue. 

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Critical Tactics Lab | Panel Discussion |“The Creative Resistance in the Age of Trump”

Thursday, November 15, 2018
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th floor, Room 503
New York, New York 10003

*Live video broadcast will be available here starting at 6:00 pm (EST).*
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To be politically inactive is to allow tyranny to envelop our country. In this panel discussion, seven members of the all-volunteer media collective The Creative Resistance will discuss the collective's work and its lasting impact on New York City politics. The group, known for their 2017 viral video Lulu Land, makes videos and other content for progressive candidates and was instrumental in the defeat of the corrupt Independent Democratic Conference (IDC), a group of Democratic New York State Senators who handed over control of the Senate to Republicans.

The panel discussion will feature the founders of The Creative Resistance collective, Eric Rockey and Sandi DuBowski; one of the founders of The Yes Men, Jacques Servin; filmmakers Adam Baran and Tracie Holder; producer Liz Manne, and Democratic campaign manager Tarik Coles.

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Bios: 

Eric Rockey is a documentary filmmaker and co-founder of The Creative Resistance. He co-wrote and co-directed Lulu Land and other CR videos. He directed the award-winning documentary short Pink Boy, which was featured on POV and Vanity Fair.

Sandi DuBowski is the co-founder of The Creative Resistance, director and producer of Trembling Before G-d, producer of A Jihad for Love, and co-producer of Budrus. He is in post-production on Rabbi, a 15-year film about Rabbi Amichai Lau-Lavie, a 21st century spiritual innovator for our skeptical, secular, digital generation who descends from 39 generations of rabbis and founded Lab/Shul, a part-laboratory, part God-optional, artist-driven synagogue. The film is supported by The Sundance Institute Documentary Film Program. He has worked with over 125 documentaries as the Outreach Director of Good Pitch for seven years which connects the world’s best social justice films with new allies and partners.

Jacques Servin (also known as Andy Bichlbaum) is one of the founders of The Yes Men; from 2010-2016 he ran the Yes Lab (now Creative Tactics Lab) at Hemispheric Institute. He is working on two feature films and one Yes Men project, all related to the current political situation, but his actually useful work has been with the collective Creative Resistance, under the rubric of which he co-directed Lulu Land (filmed at Hemi) and has helped write various other videos.

Adam Baran is an award-winning filmmaker, curator, writer, activist, and event promoter based in Brooklyn. His films and music videos- including the award-winning JACKPOT and DIRTY BOOTS- have screened at many LGBT film festivals around the world and won awards. He is the co-curator of the long-running IFC Center series Queer/Art/Film. He has served as program coordinator for Outfest, the most prominent LGBT film festival in the country, and NewFest, its New York-based counterpart. As an activist, he has co-written, directed, and produced several popular campaign ads for various progressive candidates as part of filmmaker activist group The Creative Resistance.

Tracie Holder is a filmmaker, consultant, producer, and film funding specialist. She is a 2016 Sundance Creative Producers Fellow and leads workshops in the U.S. and abroad, tutors and serves on juries at international pitching and training sessions. She was a longtime consultant to Women Make Movies and served on the board of NY Women in Film & Television. Clients include: Firelight Media, European Documentary Network, Active Voice, DOC NYC, Creative Capital, and Unions Docs, among others.

Liz Manne works at the intersection of media and social changes. With a background in entertainment marketing (Fine Line Features, SundanceTV, HBO Films). Today, Liz is a strategist and consultant helping nonprofit organizations and progressive campaigns achieve results and make meaningful change. For the 2018 election cycle, she produced online videos for The Creative Resistance, the Midwest Culture Lab, and the Peoria Project. Lizmanne.com

Tarik Coles was the campaign manager for State Senate candidate Jessica Ramos.

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The Critical Tactics Lab (CTL) is the Hemispheric Institute’s permanent forum for discussion and research on the practices and methods of contemporary and historical action. Drawing on the work of the Yes Lab and the Creative Activism Series, as well as the Institute’s ongoing work with political artists and activists from across the Americas, CTL’s mission is to promote and strengthen critical reflection about the tactics and strategies of past and present political movements. Through lectures, workshops, courses, and other modes of assembly, CTL seeks to provide a space in which the expansive affinities of critical practice and action can be made visible and strengthened.

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         The event is free and open to the public. A photo ID is required to enter NYU buildings and 20 Cooper Square is a wheelchair accessible venue. 

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Performance | Regina José Galindo: Carguen con sus muertos/Carry Your Dead

Thu 10/25 | Performance | Regina José Galindo: Carguen con sus muertos / Carry Your Dead

Thursday, October 25, 2018
3pm - 5pm

The performance will begin outside of 20 Cooper Square, move on to surrounding streets, and conclude where it began. A reception will follow at the Hemispheric Institute of Performance and Politics at New York University (20 Cooper Square, 5th Fl) from 5:30pm – 6:30pm.

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Carry Your Dead

The Hemispheric Institute of Performance and Politics at NYU and ANOTHER SPACE are pleased to announce Carry your Dead (Carguen con sus muertos), a performance by Regina José Galindo (b. Guatemala, 1974). Building on Galindo's earlier explorations of necropolitics and biopolitics, this new performance addresses the Trump administration's immigration policies and the United States' long history of interventions in Latin America.

As Regina José Galindo states: "Provoked by the intervention of the U.S., the war in Guatemala lasted until the end of the 1990s. In 1996, a peace accord was signed, but in Guatemala there has never been any peace. In the 1980s, thousands of Guatemalans migrated to escape the horror of the war. Then came the gangs, the narco-conflicts, and the string of corrupt governments, which have generated a migratory crisis without precedent. In recent years, thousands of unaccompanied children and adolescents have crossed multiple borders in order to reach the US. Thousands more have arrived with their parents and have been cruelly separated at the border, held in prisons and detention centers across the country. U.S. policies have produced too much pain for millions of individuals around the world. There have been too many deaths." With this new work, Galindo’s first street performance in the United States, the artist aims to directly confront viewers with the underside of America’s foreign and migratory policies.

Carry your Dead / Carguen con sus muertos by Regina José Galindo, was commissioned by the ANOTHER SPACE and the Hemispheric Institute of Performance and Politics at NYU in conjunction with the exhibition The Second Sex at ANOTHER SPACE. On view through October 31, 2018, The Second Sex takes its title from Simone de Beauvoir’s influential 1949 treatise and draws from the Daniel and Estrellita B. Brodsky collection to examine the work of Latin American  female artists whose contributions are too often overlooked by the Western art historical canon.This exhibition includes a number of historic performances by Ana Mendieta, Lotty Rosenfeld, and Regina José Galindo, which explore notions of memory and the relationship between the body, landscape, and politics.

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Regina José Galindo was born in 1974 in Guatemala City, where she currently lives and works. Her performance work explores the ethical implications of social injustice, discrimination related to race, gender, and other abuses that result from the unequal power relations that operate in our society. She has been the subject of solo exhibitions at a number of international institutions, including Frankfurter Kunstverein, Frankfurt; PAC Padiglione d’Arte Contemporanea, Milan; MOLAA Museum of Latin American Art, Long Beach, CA and ARTIUM, Vitoria, Spain. She participated in Documenta 14 in Athens and Kassel in 2017, the Venice Biennale in 2001, 2005, 2009 and 2011, the Sharjah Biennial in 2011 and the Sydney Biennial in 2010. Her works are included in the permanent collections of the Museum of Modern Art, New York; the Centre Pompidou, Paris; Tate Modern, London; the Solomon R. Guggenheim Museum, New York; Castello di Rivoli, Turin; Cisneros Fontanals Collection, Madrid; Daros Collection, Zurich; and the Museum of Contemporary Art, San José, Costa Rica; among others. Galindo has been the recipient of multiple awards and prizes, including the Golden Lion for the best artist under 35 at the Venice Biennale in 2005 and the Prince Claus Award in 2011. http://www.reginajosegalindo.com/ 

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About ANOTHER SPACE 
ANOTHER SPACE is a program established by the Daniel and Estrellita B. Brodsky Family Foundation to broaden international awareness and appreciation of art from Latin America. Founded by art historian and collector Estrellita B. Brodsky, as part of the activities of the Daniel and Estrellita B. Brodsky Family Foundation, the program is dedicated to building recognition of modern and contemporary art from the region.

About Hemispheric Institute of Performance and Politics
The Hemispheric Institute connects artists, scholars, and activists from across the Americas and creates new avenues for collaboration and action. Focusing on social justice, we research politically engaged performance and amplify it through gatherings, courses, publications, and archives. Our dynamic multilingual network traverses disciplines and borders and is grounded in the fundamental belief that artistic practice and critical reflection can spark lasting cultural change.

The event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.

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