Guadalupe Maravilla: Disease Thrower

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Knockdown Center is pleased to present Disease Thrower, a newly commissioned performance by Guadalupe Maravilla, presented in partnership with The Chocolate Factory Theater. Maravilla’s practice, which spans sculpture, drawing, and performance, draws heavily on autobiography to address the larger context of the immigrant experience within increasingly repressive and abusive systems. Disease Thrower lives between an immersive mini-opera and an invented healing ritual, and addresses the artist’s experience as an unaccompanied child immigrant escaping El Salvador to the United States, the subsequent intestinal cancer he endured, and his healing methods. For this performance, new mythologies will be created as the artist transforms Knockdown Center into a space for storytelling, choreographed rituals, and healing.

Under the embrace of a purple cloud, Knockdown Center’s expansive Main Space will be populated by totemic objects, a suite of gongs, a revving motorcycle, and a cast of otherworldly characters. The performance will incorporate one of Maravilla’s signature Disease Thrower shrine sculptures that operate simultaneously as an artwork, an instrument, and, for the first time as part of this performance, as a headdress worn by the artist. A mix of returning and new characters conceived by Maravilla — from metaphysical snail border crossers and an operatic singer named La Momia to a troupe of masked, mourning quinceañerxs — will fill the Main Space. Disease Thrower is accompanied by a live score by the Mexico City-based electro-drama band La Rubia te Besa, composed in collaboration with Maravilla. Following the performance, the audience will have an opportunity to commune and dance to a concert-style show by La Rubia te Besa.

Disease Thrower is the third and final work of a performance trilogy based on Maravilla’s autobiography. The first chapter, titled The OG of Undocumented Children, performed at the Whitney Museum, NY, in 2018, relayed the story of how Maravilla became an undocumented and unaccompanied child immigrant. The second chapter, Walk on Water, performed at the Queens Museum, NY, in 2019, focused on Maravilla’s past as an undocumented immigrant, the deportations his family endured, and his methods for healing.

The personal experience Maravilla details in Disease Thrower echoes that of many immigrants, and highlights the lingering and internalized effects of this kind of journey and lived reality, calling attention to the body as a site where systemic abuse manifests. Sonic elements will envelop the audience within a resonant environment of collective ritual intended to help cleanse the body of phobias and create a space for healing. Knockdown Center will vibrate with the sounds of gongs and motorcycle engines, reverberations intended to shake free the audience members’ bodies of their own invisible, deep-seated traumas.

Disease Thrower marks the inaugural commission in the Knockdown Center Propeller series, which supports artists in the production of ambitious new works made specifically for Knockdown Center’s unique spatial context.

About Guadalupe Maravilla
Guadalupe Maravilla was part of the first wave of undocumented children to come to the US from Central America. The artist immigrated from El Salvador alone at age eight to escape the Salvadorian Civil War, and became a US citizen at twenty-seven. In 2016, as a gesture of solidarity with his undocumented father, who uses Maravilla as a last name in his fake identity, Maravilla changed his birth name Irvin Morazan to Guadalupe Maravilla.

Maravilla creates fictionalized performances, videos, sculptures and drawings that incorporate his pre-colonial Central American ancestry, personal mythology, and autobiography. Through a multidisciplinary studio practice, Maravilla traces the history of his own displacement, interrogates the parallels between pre-Columbian cultures and our border politics.

Maravilla has performed and presented work extensively in venues such as the Whitney Museum of American Art, Metropolitan Museum of Art, Institute of Contemporary Art Miami, Queens Museum, Bronx Museum, El Museo Del Barrio, MARTE (El Salvador), Central America Biennial X (Costa Rica), XI Nicaragua Biennial, Performa 11 & 13, Fuse-Box Festival, Exit Art, Smack Mellon, Rubin Foundation, the Drawing Center and the ICA/VCU in Richmond, Virginia. Maravilla has upcoming projects at the 2020 Guatemala Biennial, Site Santa Fe, Phoenix Art Museum, and São Paulo Museum of Art (Brazil). Maravilla has been awarded the Guggenheim Foundation Fellowship 2019, Soros Fellowship: Art Migration and Public Space 2019, Map fund 2019, Creative Capital Grant 2016, Franklin Furnace 2018, Joan Mitchell Emerging Artist Grant 2016, among many others. Maravilla has been featured in the NY Times, Brooklyn Rail, the Guardian, Art Forum and many other publications. Maravilla’s work has been collected privately and by the Institute of Contemporary Art Miami, Deutsche Bank, MoMA, and Whitney Museum of American Art.

About La Rubia te Besa
La Rubia te Besa is a multifaceted music project proclaimed as ‘electrodrama’, where keyboards, guitar, bass, percussion and digital sound processors propose a pastiche of prominent references to instrumental pop culture (soundtracks, hymns, popular melodies, ringtones, etc.). The band, formed in 2013 (Mexico City) by members of different creative profiles (not formally trained musicians), bases its name on an imaginary aphorism that comes from an inescapable unconscious voice, an eternal submission to the canonical seduction.

About Knockdown Center Propeller Series
Guadalupe Maravilla: Disease Thrower is the inaugural commission of the Knockdown Center Propeller series, a commissioning program designed to support artists in the production and presentation of ambitious new works in Knockdown Center’s expansive Main Space. Responding to Knockdown Center’s unique architectural context and programmatic mission, the series is designed to support new site-specific work by artists who have not yet had the opportunity to extend their practice by significantly scaling up. The program furthers Knockdown Center’s mission to present innovative new projects by artists making ambitious, risk-taking, and boundary-crossing work.

About The Chocolate Factory Theater
Since its first season in 2005, The Chocolate Factory Theater has supported the development and presentation of new work by a community of local, national and international artists working in dance, theater, and interdisciplinary performance. The Chocolate Factory’s programs have drawn many thousands of new visitors to its 5,000 square foot industrial facility in Long Island City, Queens. The organization recently purchased a permanent facility in the neighborhood.

Disease Thrower is commissioned by Knockdown Center and presented in partnership with The Chocolate Factory Theater. Commissioning support also provided by The MAP Fund. Support also provided by the Franklin Furnace Fund supported by Jerome Foundation, The SHS Foundation, and the New York City Department of Cultural Affairs in partnership with the City Council.

Unsound New York presents Soft Power and Speaker Music

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Soft Power is a performance that combines traditional Polish dance and experimental music by Felicita. The evening will begin with a performance by Speaker Music (DeForrest Brown, Jr.), titled a Black rhythm happening to fill a crease.

Originally from London, Shanghai-based Felicita works with fractured sounds. Soft Power was originally commissioned by Unsound, in collaboration with traditional dancers from Śląsk Song and Dance Ensemble, the oldest and most renowned company of its kind in Poland. This unique work synthesizes traditional choreography and costume with new music to create a hypnotic multimedia experience. The concept stems from Felicita’s childhood education in traditional dance, and explores folk culture, national identity, tourism, branding, illusion, and farce. The music itself is a fusion of Polish folk, noise, trap and chamber music, and was released last year by PC Music, fitting beside releases by the likes of SOPHIE and Danny L Harle.

As Ben Ben-Beaumont Thomas wrote in The Guardian: “Folk dances, involving lots of twirling around and dramatised romance, are paired with plangent piano melodies, scorched ambient noise and, most incongruously, wild synthetic pop. Despite (or rather because of) the aesthetic clashes, it hangs together in a supremely atmospheric whole. Devised in the wake of Brexit, it’s a stirring affirmation of how cultures can coexist while retaining their own voices.”

The evening will begin with a set by Speaker Music (DeForrest Brown, Jr.) titled “a Black rhythm happening to fill a crease,” a new improvised composition expanding on the lush ensemble energy music found in his debut album of desire, longing (Planet Mu, 2019). Referencing free jazz trumpeter Eddie Gales’ culturally noteworthy 1969 album Black Rhythm Happening, Speaker Music probes further into the sonic narratives of African American expression towards a novel rhythmic and romantic abstraction of vibration and frequency.

Speaker Music is a digital audio and extended media praxis by New York-based rhythmanalyst DeForrest Brown, Jr. His work is concerned with speculative futures in performative contexts and programmatic intersections of technology and thought. He is a representative of the Make Techno Black Again campaign, and his most recent writing can be found in Artforum, Hyperallergic and Afropunk. In 2020, Brown, Jr. will publish a book related to a talk given at Unsound Kraków, entitled “Assembling a Black Counter-Culture” with Primary Information.

Note: this show was originally part of the Unsound New York 2019 lineup, and had to be moved to this date due to unforeseen reasons.

Organized in collaboration with the Adam Mickiewicz Institute as part of the Polska Music program and POLSKA 100, the international cultural program celebrating the centenary of Poland regaining independence.
Financed by the Ministry of Culture and National Heritage of the Republic of Poland as part of the multi-annual programme NIEPODLEGŁA 2017–2022

Facility Magazine Launch

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Join Facility magazine in celebrating the release of their inaugural issue — in the bathroom. Facility, the magazine that views society through the lens of the bathroom, is taking over one of Knockdown Center’s all-gender, wheelchair-accessible restrooms for a night of readings, installations, a special Facility-themed cocktail, and more.

Readings by:
Chloë Bass
Elizabeth Gumport
A.S. Hamrah
Heather Johnson & Svetlana Kitto
René Kladzyk
Jane Marchant
Erin Sheehy

Installations by:
Keenan Bennett
Tiffany Jaeyeon Shin

Facility treats the bathroom as a small but interesting window through which to view the world. Issue 1 includes: an interview with plumbers, bath riots on the El Paso-Juárez border, the origins of sex-segregated bathrooms, urine drinking, a history of fluorescent lighting, plus reviews of pills, ductwork, glycerin, and mirrors — and much more.

Notes from the Sidelines

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Join us for an evening with performers and scholars who will engage and unpack some of the central concepts, approaches, and artworks contained in the exhibition Xandra Ibarra: Forever Sidepiece. Through lecture, performance, and song, Amber Jamilla Musser, Amelia Bande, and Keijaun Thomas will expand upon the critical conversations that Ibarra’s dynamic work across mediums brings forward.

Scholar Amber Jamilla Musser will walk the audience through the video Untitled Fucking (2013), a collaborative work made by Xandra Ibarra and artist Amber Hawk Swanson, weaving together critical analysis and personal anecdotes of lessons learned from Ibarra’s body of work. Writer and performer Amelia Bande will present a combination of song and text based on personal anecdotes that exercise a sidepiece methodology while drawing out strategies of humor as mode of critique. The evening will conclude with performer Keijaun Thomas, who will present a work in progress that resonates with Ibarra’s engagement with embodiment, excess, and material slippages.

About the Exhibition
Xandra Ibarra: Forever Sidepiece is the first NYC solo exhibition of Oakland-based artist and performer Xandra Ibarra, who also works under the alias La Chica Boom. The exhibition is rooted in Ibarra’s performance practice, extending to sculpture, video, and photographs made between 2012 and 2019, some of which will be on view for the first time. Charged objects like Tapatío bottles, nipple tassels, and cockroaches reappear throughout her work to confront notions of racialized desire and representations of Latinidad, femininity, and queerness.

About the Presenters
Amelia Bande is a Brooklyn-based artist, writer and performer from Chile. Her work has been shown at Artists Space, The Poetry Project, Storm King Arts Center, Tang Museum, MoMA Library, MIX NYC, Participant, Inc and more. She has been an artist in residence The Shandaken Project, Yaddo and FIAR. Her chapbook The Clothes We Wear was published by Belladonna in 2017. Amelia teaches Spanish at CUNY and NYU.

Amber Jamilla Musser is Associate Professor of American Studies at George Washington University and the author of Sensational Flesh: Race, Power, and Masochism (NYU, 2014) and Sensual Excess: Queer Femininity and Brown Jouissance, which was published by NYU Press in November.

Keijaun Thomas creates live performances and multimedia installations that oscillate between movement and materials that function as tools, objects and structures, as well as a visual language that can be read, observed, and repeated within spatial, temporal, and sensorial environments. Her work investigates the histories, symbols, and images that construct notions of Black identity within black personhood. Thomas examines, deconstructs, and reconstructs notions of visibility, hyper-visibility, passing, trespassing, eroticized, and marginalized representations of the black body in relation to disposable labor, domestic service, and notions of thingness amongst materials — her work investigates the histories, symbols, and images that construct notions of Black identity within Black personhood. Thomas earned their Masters degree from the School of the Art Institute of Chicago. Thomas has presented work nationally and internationally in Los Angeles and Palo, Alto, CA; Portland, OR; Portland, ME; Chicago, IL; Saugatuck, MI; Steuben, WI; Boston and Cambridge, MA; New York, NY; Miami, FL; and Taipei, Taiwan; Paris, France; Mexico City, Mexico; Santiago, Chile; Istanbul, Turkey; Beirut, Lebanon; Kuopio, Finland, Saskatchewan and Vancouver, Canada; and the United Kingdom.

Open Call: Exhibitions + Main Spaces

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We are currently seeking proposals for Group Exhibitions in our gallery space, Solo Projects + Installations in our gallery space, and short-term Main Spaces Projects!

Review the guidelines for open calls for gallery exhibitions and projects in our main spaces, and apply by October 21, 2019! We are also accepting proposals on a rolling basis for Open Capacity – our space support program for artists and organizers.

Take a look at our proposal page for full details and guidelines.

Submit your proposal here.

Closing Reception for A Continuous Stream of Occurrence

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Join us for the closing of A Continuous Stream of Occurrence, with a sound intervention by Roarke Menzies, who will be engaging Luba Drozd’s installation.

Roarke Menzies is a New York City-based artist and musician who incorporates his voice, mouth and body with audio tools and toys to create electronic and electroacoustic works. His music has been described by The New Yorkeras “a layered electronic throb, coming and going, always enhancing but never overpowering.”

Menzies’s work has been presented at the Material Art Fair in Mexico City, the Spring Break Art Show in New York City, the Untitled Art Fair in Miami, VOLUME in Los Angeles, Quiet City in Vancouver, CHANNEL in Toronto, and many other venues. His music has also been presented on KCHUNG Radio, KFFP Freeform Portland, WNYU’s Bentwave FM, and on BBC Radio 3 as part of the series “New Year New Music: exploring iconic masterpieces, avant-garde experiments and the next generation of talent.”

About the exhibition
A Continuous Stream of Occurrence is an exhibition that brings together the works of Luba Drozd and William Lamson to explore how time manifests in natural and physical phenomena. The artists have created site-specific, time-based works that modify Knockdown Center’s gallery space into an uncertain laboratory, where architecture, light, piano cords, copper, salts, and glass create an ever-evolving environment that unveils time as materially constructed. By focusing on sound and vibration, or on crystallization and geological transformation, the exhibition invites visitors to experience the sensory elements that make up these living systems.

Bushwig NYC 2019

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BUSHWIG NYC 2019
SHAKE. THE. HOUSE.
September 7th and 8th at the Knockdown Center.

This year Bushwig will be even more legendary than ever before with over 300 iconic performers.

Featuring live music from Slayyyter, Mykki Blanco, AJA, Christeene.

Drag shows from Nina West, Bubble T, Charlene, Tammie Brown, Lady Bunny, Horrorchata and all of your Brooklyn favorites.

Join us for 23 hours of drag, dancing, live music, shopping with over 30 vendors and more.

♥ Dance to sets by Iconic DJs like CEM [Herrensauna], Jasmine Infiniti & Justin Cudmore.
♥ Carry at the Ketel One Bar.
♥ Over indulge with our food vendors.
♥ Get your desserts in the dark room. 😉

Ride our FREE SHUTTLE from Jefferson L Train Station (Jefferson St. and Wyckoff Ave.) to the venue or alternatively use our code “WIGRIDE19” on LYFT for a 20% discount.

Bushwig is a safer space with LGBTQ friendly security, wheelchair access, and designated space near the stage for guests with disabilities. For reservation please email: Simon@Bushwig.com

Final tickets on sale now!

Bushwig NYC is an adults only 21+ event.
#shakethehouse #bushwig2019

Sunday Service: Shawné Michaelain Holloway Presents…

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Join us for the final Sunday Service of the Spring season, curated by shawné michaelain holloway! In a round-robin style format inspired by Chicago’s DIY scene, artists David Ian Bellows/Griess, Nia Nottage, and xtian w bring an evening of video, movement, and poetry works in response to the following prompt:
 
“Caged. Restricted. Routinized. Disciplined. Landlocked. Bound. Promised. Abiding. For keeps, keepsakes, being kept. Domestication. Wrangling. Being a pet. Seclusion. Saving. No matter where you go, it’s there. New construction. Bauhaus. Lucid dreaming. Sleep paralysis. Barriers. Doors. What’s on the other side? Claustrophobia. Warmth. Wonder. Silence. Cushion. Bed. Returning to reflection. Alone time.”

About the Artists

David Ian Bellows/Griess (born Omaha, NE 1984) explores themes of control, labor, and sexual play through diy surveillance to relay the physicality and the resilience of the body and what might be possible/impossible for the body to sustain.

Nia Nottage is a performance artist and founding member of performance collective Steph Christ – https://stephs.net. Recent projects include POSSESSION (2017-8) at Real Estate Fine Art, Device Controlled (2016) at Panoply Performance Lab, Gloss (2019) at Shawn Escarciga’s Inaugural Hallway Show, LOVE LETTERS//TIME ALONE (2018) at Human Trash Dump, Frances Yeoland: Circula (2018) at 959 Kent Ave, You Should Wake Up Earlier (2017) with No Total, Programs Associate at Artists Space, Dysfunctional poetry reading at MoMA PS1 (2017), and Curatorial Fellow at The Whitney Museum’s Independent Study Program (2019).

xtian w is a non binary trans femme writer and performer. Their poems and essays appear in [PANK], No, Dear, VIDA, Bone Bouquet, Jaded Ibis, and Hematopoiesis Press, among others. Current creative—life interests include Medusa, hysteria, Trans sensorialities, weaving and braiding, coriander, ancestry, gut bacteria, ghazals, list poems, friendship beyond heteronormativity, boundaries, and houseplants. An Aquarius sun/ Capricorn moon/ Virgo rising, xtian is an MFA candidate in Poetry at NYU and paints their nails in Brooklyn.

About the Curator

Shawné Michaelain Holloway is a new media artist using sound, video, and performance to shape the rhetorics of technology and sexuality into tools for exposing structures of power. She has spoken and exhibited work internationally in spaces like The New Museum (NYC, NY), Sorbus Galleria (Helsinki, Fi), The Kitchen (NYC, NY) Institute of Contemporary Arts (London, UK), Museum of Contemporary Art Chicago (Chicago, IL). Currently, Holloway teaches in the New Arts Journalism department at the School of the Art Institute of Chicago.

About Sunday Service

Taking place the first Sunday of each month, a guest curator is invited to organize a salon style evening of cross-disciplinary performances and presentations that brings together a multiplicity of views around a singular prompt, such as a question, theme, or formal structure. Sunday Service centers works in progress, interdisciplinary endeavors, and diversity in format showcased in a lo-fi environment to foster the exploration of ideas and critical discourse amongst peers.

Sunday Service is programmed by Stephanie Acosta and Alexis WilkinsonStephanie Acosta is an interdisciplinary artist who places the materiality of the ephemeral at the center of her work, questioning meaning-making and manufactured limitations through her multiple practices. Alexis Wilkinson is the Director of Exhibitions and Live Art at Knockdown Center.

Full Season Calendar and Details

Sunday Service: Yanira Castro Presents…

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Join us for Sunday Service curated by Yanira Castro, who brings together Martita Abril, Rosana Cabán, Cori Olinghouse, Alexis Ruiseco-Lombera, Tara Sheena to explore communing, commingling, and being together in performance.

To commune is the essential action in performance. Bodies converge in time and space. A word close to commune is to commingle. Commingling makes me think of fluids and also of immersion and dinners without agenda: the ebb of them, the constant shifts of center–who is speaking, laughing, cooking, dancing, yelling, crying? Fred Moten in The Undercommons: “We are committed to the idea that study is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held under the name of speculative practice.” How does your practice commune? How does it commingle (or not)? Shift the center? Pour out of “boundaries”? How do you think about the complications of being together in performance?

About the Artists
Martita Abril is a performer, choreographer, and teaching artist from the border city of Tijuana, México. She earned her BFA from San Diego State University and works with dance artists and companies throughout México and the US, including projects and performances with Lux Boreal Danza Contemporánea, Allyson Green, Yanira Castro / a canary torsi, Mina Nishimura, Rebecca Davis, Daria Fain and Rober Kocik, Cori Olinghouse, and Will Rawls. She recently was a performer in Simone Forti’s Dance Constructions at the Museum of Modern Art. She’s been named a PECDA Scholar as a “Young Creator”, a FONCA fellow, and Fresh Tracks Resident at NYLA. She’s also served as a mentor for the NYFA Immigrant Artist Program in 2015, 2016, & 2018. In 2014 she was named Outstanding Alumna by SDSU. www.martita-abril.org

Rosana Cabán is a Puerto Rican born, Florida raised and Brooklyn based audio engineer, producer, and sound artist. She has performed at the Guggenheim, the Brooklyn Museum, MoMa ps1, National Sawdust, the Fillmore, Webster Hall, and over 80 rock venues across the US and Canada. She was an assistant to Mindy Abovitz’s The Oral History of the Female Drummer where she helped coordinate and allocate positioning 20 drummers throughout the Brooklyn Museum. Cabán also composed one of four movements for 19 drummers titled Roto Hotel which was performed at the lobby of the Ace Hotel in New York and produced by Tom Tom Magazine. Currently, she is a Sound Art MFA candidate at Columbia University where she is experimenting with sculptural sound works inspired by vintage technology, nostalgia, and tech noir.

Cori Olinghouse is an interdisciplinary artist, archivist, and curator. Her works have been commissioned by Danspace Project, New York Live Arts, BRIC Arts Media, Lower Manhattan Cultural Council, Movement Research, and Brooklyn Museum of Art. Her practice explores gender as the shape-shifting of multiple perspectives—drawing from Lauren Berlant’s ideas of humor as a space for transformation. She is the founder and director of The Portal Project, a living archives initiative dedicated to the transmission of performance through archival and curatorial frameworks. Olinghouse holds an MA in Performance Curation from Wesleyan University and serves as visiting faculty at the Center for Curatorial Studies at Bard College.

Alexis Ruiseco-Lombera is a Cuban visual artist, performance artist, and writer prompted by the intersection between being non-binary and Cubanidad. Investigating the ontological labour of queer and trans bodies, Ruiseco-Lombera makes performance, video, and photographs responding to their entanglements with trauma, violence, contact, and intimacy.

Tara Sheena is a dancer, writer, and producer based in Brooklyn, NY. As a performer, she is engaged on upcoming projects with choreographers Ivy Baldwin, Ursula Eagly, Leyya Mona Tawil and Nadia Tykulsker. Recently, she has been involved in the work of Stormy Budwig, Catherine Galasso, Lindsey Dietz Marchant, Beth Graczyk, and the feature film Shirley with choreography by Faye Driscoll. As a writer, she has been obsessed with the ways capitalism, race, and performance intersect in dance spaces, what she refers to as “Capital-D Dance.” Her writing has been published in Hyperallergic, the Brooklyn Rail, Fjord Review, DIY Dancer, the Huffington Post, Culturebot and Critical Correspondence. Originally from Michigan, she graduated from the University of Michigan in 2011 with a BFA in Dance and BA in English.

About the Curator

Puerto Rican choreographer Yanira Castro is a Bessie-award-winning artist. In 2009, she formed the interdisciplinary collaborative group, a canary torsi. Castro’s work borrows from dance, performance, and visual art often utilizing interactive technology to form hybrid works. With her collaborators she has developed over ten projects for the stage, gallery and non-traditional sites ranging from video installations, performances and text-based computer games. The work was been presented most recently in NYC at The Chocolate Factory, The Invisible Dog, Abrons, and Danspace Project. Currently, she is a 2018/19 New York Live Arts’ Live Feed Artist, 2018 Yaddo Fellow and Marble House Project Artist-in-Residence. She has received various awards including NYFA’s Choreography Fellowship, NEFA’s National Dance Project, and a 2019 NYSCA Theater Commission

About Sunday Service

Taking place the first Sunday of each month, a guest curator is invited to organize a salon style evening of cross-disciplinary performances and presentations that brings together a multiplicity of views around a singular prompt, such as a question, theme, or formal structure. Sunday Service centers works in progress, interdisciplinary endeavors, and diversity in format showcased in a lo-fi environment to foster the exploration of ideas and critical discourse amongst peers.

Sunday Service is programmed by Stephanie Acosta and Alexis WilkinsonStephanie Acosta is an interdisciplinary artist who places the materiality of the ephemeral at the center of her work, questioning meaning-making and manufactured limitations through her multiple practices. Alexis Wilkinson is the Director of Exhibitions and Live Art at Knockdown Center.

Full Season Calendar and Details

Sunday Service: ray ferreira Presents…

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Join us for Sunday Service hosted by ray ferreira who has gathered artists KT Pe Benito, Lindsay “Londs” Reuter, Aldrin Valdez, and Nicki Wong to share works across forms in response to the following prompt:

Moving through the city, a slow blink gives way to blur gives way. To a discontinuity, bodies shifting, slipping through each other. The bass moves through fleshy fluid —vesicles on vesicles on vesicles. Histories spiral though. Crests and throughs distorts them chemical laced semipermeable membranes. Bodies of water, heavenly ones, the monstrous no place from island to island. A body is only neat when bleached by white light. Sharp, the street lamp provides a pain without pleasure, safety —a static condition. Separateness and particularity —a discontinuity to not make. I try and return to blur, but it is not a state.

About the Artists

KT Pe Benito is a nonbinary queer Filipinx, a Filipino man, and a white woman. Their work in writing and interdisciplinary art making is diaristic, but concerns larger systems and complexes at work around them in their daily life such as politicizing their late Filipino grandmother’s hypothesized existence, sustaining victim.survivor Filipinx futurity, and recognizing U.S. colonization onto a queer hapa body. They’re interested in the interpolation of the somatic shape they were born into and how it continues to stereotype (read: determine) their labor, their lovers, their online personas, and real life’s path.
Website: ktpebenito.com

Lindsay “Londs” Reuter makes performances that question materiality, family, and bravery. Londs has received support from New York Live Arts (Fresh Tracks 2014-2015), Danspace Project (Food for Thought), and Movement Research at the Judson Church. She has been in residence at Ponderosa (Queeries Residency), the Space on Ryder Farm, and will be in residence at Snug Harbor Cultural Center this May. Londs is an M.A. candidate in Disability Studies at the City University of New York.

Aldrin Valdez is a Pinoy writer and visual artist. They are the author of ESL or You Weren’t Here (Nightboat Books, 2018). Aldrin has been awarded fellowships from Queer/Art/Mentorship & Poets House. They’ve co-curated two seasons of the Segue Reading Series with fellow poet Joël Díaz.

Born in Hong Kong and based in New York, Nicki Wong is an interdisciplinary artist who works in performance, sculpture and social practice. Wong’s movement-based and improvisational works examine the play of language and its meaning and the construction of power dynamics between people and objects. These embodied gestures probe the networks between human subjects and the materiality of objects. Wong is currently a BFA candidate at Hunter College.
Website:

About the Curator

ray ferreira w h e n a m i blaqlatinx from occupied Lenape lands called New York, N Y: the illegitimate EEUU. An o the r Corona, Queens a spacetimemattering a materialdiscusive (dis) continuity: [the Caribbean, the Greater Antilles, Hispañola, the Dominican Republic —> Corona, Queens] : history.
w h e n a m i a performer of sorts aka multidisciplinary artist aka polymath. She stays playin : the dance between materiality<->language through her body w h e n a m i where histories are made and remade. She plays with iridescence, text, rhythms (aka systems), to cruise a quantum poetics. Englishes, Spanishes, and other body languages spiral, dance, and twirl to create a banj criticality: that turnup w/the grls; that swerve past white cishet patriarchy. wh e n ami

About Sunday Service

Taking place the first Sunday of each month, a guest curator is invited to organize a salon style evening of cross-disciplinary performances and presentations that brings together a multiplicity of views around a singular prompt, such as a question, theme, or formal structure. Sunday Service centers works in progress, interdisciplinary endeavors, and diversity in format showcased in a lo-fi environment to foster the exploration of ideas and critical discourse amongst peers.

Sunday Service is programmed by Stephanie Acosta and Alexis WilkinsonStephanie Acosta is an interdisciplinary artist who places the materiality of the ephemeral at the center of her work, questioning meaning-making and manufactured limitations through her multiple practices. Alexis Wilkinson is the Director of Exhibitions and Live Art at Knockdown Center.

Full Season Calendar and Details

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