Alive At Satellite NYC 2019 | Performance Art + Video Program

Performance Is Alive at Satellite Art Show NYC #AliveAtSatelliteNYC Curated by Quinn Dukes October 3-6, 2019 Pfizer Building, ​630 Flushing Avenue, 1st Floor, Brooklyn, NY 11206

In the spirit of celebrating the local community and diversity, our live performance program primarily features local NYC artists while integrating an international group of performance and video artists. #AliveAtSatelliteNYC will run throughout all 4 days of Satellite Art Show NYC, featuring 17 live durational actions. Additionally, Satellite’s Official video screening program features 23 dynamically diverse artists exploring performance for video, ritual and body politics. We are also honored to host a special screening featuring the work of seminal video artist, ​Barbara Rosenthal​. Rosenthal will present 12 works spanning her career as a NYC video artist.

FEATURING PERFORMANCE ART ​from Thomas Albrecht (New York, NY), ​Christie Blizard (San Antonio, TX), ​Mairead Delaney ​(VT), ​Vyczie Dorado (New York, NY), ​Rebecca Fitton (NY/England), ​Kathie Halfin (NY/Ukraine), ​Markus Holtby (Larchmont, NY), Amanda Hunt and IV Castellanos (Brooklyn, NY), ​Amanda Kleinhans (Tallahassee, FL), ​SUNGJAE LEE (Chicago/Korea), ​Stephanie McGovern (Brooklyn, NY), ​Butch Merigoni (Brooklyn, NY), ​Matthias Neumann (NY/Germany), ​Christopher Unpezverde Núñez (NY/Costa Rica), ​Alison Pirie (Brooklyn, NY), ​Sandrine Schaefer (Boston, MA), ​Wild Actions - Patience, Carley McCready-Bingham, Ginger Wagg ​(Chapel Hill, NC)

FEATURING VIDEOS ​from Carolina Alamilla (Miami, FL), ​Alex Apostolidis (Montreal), ​Katina Bitsicas (Columbia, MO), ​Jeffery Byrd (Cedar Falls, IA), ​Victor de La Rocque ​(Sao Paulo, Brazil), ​Christina M Dietz (Jersey City, NJ), ​Julha Franz (Porto Alegre, Brazil), ​Tales Frey (Portugal/Brazil), ​Edgar Fabián Frías (Tulsa, OK), ​Igor Furtado (Rio de Janeiro, Brazil), ​Rodrigo Gomes (Lisbon, Portugal), ​江峰 Jiang Feng (New Taipei City, Taiwan), ​Maria Del Pilar (PILI) Lopez-Saavedra (New York, NY), ​Tone Haldrup Lorenzen (Berlin/Denmark), ​Nadja Verena Marcin (New York, NY), ​Rachel L Rampleman (New York, NY), ​Barbara Rosenthal (New York, NY), ​Monstera Deliciosa (London/Portugal), ​Sylvain Souklaye (Copenhagen/France), ​Alison Starr (Dallas, Texas), ​Natacha Voliakovsky​ (Buenos Aires, Argentina), ​Christopher Willauer​ (Brooklyn, NY), ​Cherrie Yu​ (Chicago, IL)

ABOUT PERFORMANCE IS ALIVE Based in Brooklyn, NYC, Performance Is Alive is an online platform featuring the work and words of current performance art practitioners. Through interviews, artist features, sponsorship and curatorial projects, we aim to support the performance community while offering an access point to the performance curious.

Performance is Alive at SATELLITE ART SHOW is curated by Quinn Dukes (Founder + Director).

Performance Is Alive is a fiscally sponsored project of Fractured Atlas, a 501(c)(3) charity. Contributions made payable to Fractured Atlas for the purposes of Performance Is Alive are tax-deductible to the extent permitted by law.

p​erformanceisalive.com​ // fundraising.fracturedatlas.org/performance-is-alive

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

PERFORMANCE IS ALIVE​ PROGRAMMING SCHEDULE

Thursday, October 3

LIVE PERFORMANCES

5:00 PM Amanda Kleinhans​ (Tallahassee, FL, USA), ​Fitting XV 6:00 PM Alison Pirie​ (Brooklyn, NY, USA), ​Prisoners of the Strange Organ That Dwells Within Them - ​roaming 7:00 PM Amanda Hunt and IV Castellanos​ (Brooklyn, NY, USA), ​Unidentifiable Intimacy

SCREENINGS

Friday, October 4 LIVE PERFORMANCES

Wild Actions - Patience, Carley McCready-Bingham, Ginger Wagg​ (Chapel Hill, NC, USA), ​Frivolous Artist: Sculpture Garden

6:30 PM Rebecca Fitton​ (Queens, NY, USA), ​GOLD STANDARD

FEATURED SCREENING + DISCUSSION 8:00 PM ​B​arbara Rosenthal ​(New York, NY) - Screening 12 Works:​ Boggle​, 1990; ​I have a NY Accent​, 1990; ​Words Come out Backwards​, 2003; ​This is A​, 1984;​ Postcards​, 1992; ​News to Fit the Family​, 1988; ​News Wall​, 1987; The Screen Will by Black & Silent for Some Time,​ 1988; Whispering Confession​, 1995; ​Worldview Space and Time Omitted​, 1990; ​Secret Codes​; ​Toil of Three Cities​, 2012.

LIVE PERFORMANCE

LIVE PERFORMANCE

9:00 PM Stephanie McGovern​ (Brooklyn, NY, USA), ​Unhinged Showgirl

1:00PM - 5:30PM Sandrine Schaefer ​(Boston, MA, USA), ​Pace Investigations No. 11

SCREENING 5:30 PM Rachel Rampleman ​(Brooklyn, NY, USA), ​Life is Drag

LIVE PERFORMANCES

8:00PM - 10:30PM (listed in order of appearance) Edgar Fabián Frías (Tulsa, OK, USA), ​KauyumariTatewari​, Natacha Voliakovsky (Buenos Aires, Argentina), ​State of Alert, Maria Del Pilar (PILI) Lopez-Saavedra ​(Forest Hills, NY, USA), Real Switches Only​, Katina Bitsicas (Columbia, Missouri, USA), 1422 1829 1702​, ​Sylvain Souklaye (Copenhagen/France), MIGRANT MARKET, ​Victor de La Rocque (​São Paulo, Brazil), Retorno à ternura (return to tenderness), ​江峰 Jiang Feng (New Taipei City, Taiwan), Organ Play 器官嬉戲, ​Julha Franz (Porto Alegre/Rio Grande, Brazil)​, ​LOOK THROUGH​, ​Igor Furtado (Rio de Janeiro, Brazil), ​There's No Sin To The South Of Ecuador, ​Tales Frey (Porto, Portugal), ​Estar a Par - Passo a Passo | To be Privy - Step by Step, ​Christopher Willauer (Brooklyn, NY, USA), ​Exercises, ​Cherrie Yu (Chicago, IL, USA), Lydia and Matthew, ​Christina Dietz (Jersey City, NJ), ​Cycle, Alex Apostolidis (Montreal, Quebec, Canada), ​Alex's Room, Nadja Verena Marcin (Brooklyn/ Germany), ​How to Undress in Front of your Husband, ​Alison Starr ​(Dallas, Texas, USA), ​Egg Meat Hood, ​Monstera Deliciosa (London, UK/Lisbon, Portugal; ), Liminal Bodies: practicing dis-appearance, ​Tone Haldrup Lorenzen (Berlin, Germany/Denmark), ​C.U.N.T.R.I.E.S, ​Rodrigo Amarante Guerreiro Gomes (Lisbon, Portugal), ​Ultraviolet Garden, ​Jeffery Byrd (Cedar Falls, IA, USA), ​Proving Ground, Carolina Alamilla​ ( Miami, FL, USA), ​Isn't this relaxing?!

5:00 PM

Saturday, October 5

6:00 PM Matthias Neumann ​(Brooklyn, NY, USA),​ 1-hour sculpture (basics) 7:00 PM Thomas Albrecht​ (New York, NY, USA), ​Like the Delayed Rays of a Star 8:00 PM Vyczie Dorado ​(New York City, NY, USA),​ CUT 8:00 PM Mairead Delaney ​(Vermont, USA), ​Shelter - ​outdoors 9:00 PM Christie Blizard​, (San Antonio, TX, USA) ​The Bill Hicks UFO Encounter

Sunday, October 6 LIVE PERFORMANCES

12:00 PM ​Markus Holtby​ (Larchmont, NY, USA), ​We the People, in Order to form a more perfect union, build a Wall 1:00 PM Butch Merigoni ​(Brooklyn, NY, USA), ​Exactly 2:00 PM Kathie Halfin​ (New York/Ukraine), ​Labor Of Love 3:00 PM ​Christopher Unpezverde Núñez​ (Brooklyn, NY, USA), The Square 4:00 PM ​SUNG​JAE LEE​ (Chicago, IL/Korea), ​Temporal Chest Hair (inspired by Valie Export) - ​roaming

SCREENINGS

4:00PM - 6:30PM (listed in order of appearance) Edgar Fabián Frías (Tulsa, OK, USA), ​KauyumariTatewari​, Natacha Voliakovsky (Buenos Aires, Argentina), ​State of Alert, Maria Del Pilar (PILI) Lopez-Saavedra ​(Forest Hills, NY, USA), Real Switches Only​, Katina Bitsicas (Columbia, Missouri, USA), 1422 1829 1702​, ​Sylvain Souklaye (Copenhagen/France), MIGRANT MARKET, ​Victor de La Rocque (​São Paulo, Brazil), ​ 峰 Jiang Feng Retorno à ternura (return to tenderness), 江 (New Taipei City, Taiwan), Organ Play 器官嬉戲, ​Julha Franz (Porto Alegre/Rio Grande, Brazil)​, ​LOOK THROUGH​, ​Igor Furtado (Rio de Janeiro, Brazil), ​There's No Sin To The South Of Ecuador, ​Tales Frey (Porto, Portugal), ​Estar a Par - Passo a Passo | To be Privy - Step by Step, ​Christopher Willauer (Brooklyn, NY, USA), ​Exercises, ​Cherrie Yu (Chicago, IL, USA), Lydia and Matthew, ​Christina Dietz (Jersey City, NJ), ​Cycle, Alex Apostolidis (Montreal, Quebec, Canada), ​Alex's Room, Nadja Verena Marcin (Brooklyn/ Germany), ​How to Undress in Front of your Husband, ​Alison Starr ​(Dallas, Texas, USA), ​Egg Meat Hood, ​Monstera Deliciosa (London, UK/Lisbon, Portugal; ), Liminal Bodies: practicing dis-appearance, ​Tone Haldrup Lorenzen (Berlin, Germany/Denmark), ​C.U.N.T.R.I.E.S, ​Rodrigo Amarante Guerreiro Gomes (Lisbon, Portugal), ​Ultraviolet Garden, ​Jeffery Byrd (Cedar Falls, IA, USA), ​Proving Ground, Carolina Alamilla​ ( Miami, FL, USA), ​Isn't this relaxing?!

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 3

Image: Amanda Kleinhans, Fitting XV detail

Amanda Kleinhans (Tallahassee, FL, USA), ​Fitting XV

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ Thursday, October 3 at ​5pm

Amanda Kleinhans ​is an interdisciplinary artist currently living in Tallahassee, FL. Kleinhans received her Bachelor of Fine Arts degree in Sculpture / Ceramics from the University of Southern Mississippi and her Master of Fine Arts in Studio Art from Florida State University. Her work brings the fat body and the fat experience to the forefront by confronting audiences with how the two are perceived within modern society. Although we are in the throes of the “body positivity” movement, there is a lapse in fat acceptance.

Through her work, Kleinhans calls out these oversights and seeks to find resolutions.

Fitting XV​, a live performance, is Amanda Kleinhans’s most recent work. Housed in the middle of a sheet of wood is a silhouette of a body. The body represented is one that is the same height as the artist, but is the “average” body weight of a person that height- something Kleinhans is not. She attempts to fit her body through the opening to fit the standard that is placed against her body on a daily basis. As she squeezes her flesh through the silhouette, it’s reminiscent of the seats her body has to squeeze into and small sidewalks she has to walk down before ultimately colliding into others. The ultimate goal of this piece is for the artist’s body to fit through (within) the wood (society) and its harsh, non-budging parameters.

www.amandadlkleinhans.com IG: @amandakleinhans

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 3

Image credit: Still from "The Pelvic Theatre Presents The History of Hysteria" Documented by Lia Hanson.

Alison Pirie (Brooklyn, NY, USA), ​Prisoners of the Strange Organ That Dwells Within Them (roaming) #AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ Thursday, October 3 at ​6pm

Alison Pirie ​is a Brooklyn-based multidisciplinary artist working in video, performance, sculpture and installation. Pirie earned her BFA in Studio Art from Chapman University (2018). Her work has been exhibited in a solo show at The Situation Room, Los Angeles (June 2018) and group shows and screenings at La Mama Galleria (2019), Satellite Art Fair SXSW (2019), Straight Through The Wall NYC (2019), Con Artist Collective (2018), Brooklyn Art Cluster (2018), Chapman University Guggenheim Gallery (2014-2018), The Situation Room, Los Angeles (2015) and Art Basel Miami Beach “Fair. Play” Femmes Video Art Festival (2017).

She was an artist-in-residence this past January at Vermont Studio Center (2019). Pirie is also the Co-Curator of a new series of food-themed video and performance events in Brooklyn called Gxrl on Grill.

Prisoners of the Strange Organ That Dwells Within Them is a wandering, durational performance in which I drag a uterus-shaped sculpture on the floor from my crotch, while blindfolded in a public space. The title of the performance is an adaptation of a quote by Michelle Perrot from A History of Women in the West: Renaissance and Enlightenment Paradoxes.

In this performance I make the invisible visible, and the private public, embodying and visualizing the pain and symptoms of reproductive health issues that are often pathologized or ignored. The labored act of pulling the uterus outside of my body emphasizes the weight and stress of these varied issues that often go unseen. The men’s tie blindfold implicates the patriarchy for the detrimental lack of informed, safe, and effective reproductive healthcare and education. By blindfolding myself in a public space, I endanger my physical body and force viewers to ensure the safety of my person and my uterus.

Society places immense value on fertility, but does not treat the uterus as a valuable and vital organ. The patriarchy we live in does not care about reproductive healthcare. If the concern is really about saving lives, why do we not protect and care for the organ life comes from?

alisonpirie.com / IG: @alisonpirie

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 3

Image credit: Video Still, Judson Memorial Church 2018 (courtesy of the artists)

Amanda Hunt and IV Castellanos (Brooklyn, NY, USA), ​Unidentifiable Intimacy #AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Thursday, October 3​ at ​7pm

IV Castellanos and Amanda Hunt ​are Brooklyn based artists that have performed extensively both solo and collaboratively. Their work has been presented in NYC at The Queens Museum, Gibney Dance Center, Grace Exhibition Space, The Knockdown Center, Judson Church, PPL, and nationally in places like Highways Performance Space (Los Angeles), Inverse Performance Festival (Arkansas), and The Aha Festival (Santa Fe, NM). They have held residencies at Chez Bushwick, Anonymous Ensemble, MARSH (St. Louis, MO), and the Artist-In-Vacancy Program (Newburgh, NY). They are co-directors of Para\\el Performance Space in Brooklyn, NY, a venue dedicated to showing emerging, in process, and/or DIY performance. Hunt and Castellanos make multi-disciplinary work with sculptural objects in performance using concepts of labor and futility. Their work addresses the body as a tool/object, and attempts rigor, success, and failure, from and within the body.

Unidentifiable Intimacy ​circles around and into ideas of athleticism/physical rigor, productivity culture, futility, and the objectification of one's body as a terms of survival. By making work that redefines the 'hyper' and 'anti' hero, we aim to interrogate structural binaries between self-sustainability and clearly displayed acts of needing support, physically and psychically. We wonder what it would feel like to 'resist the attention economy' from a space of neither fully refuting it nor fully complying with its demands - but rather inhabiting another space, between or beyond, these two ideas (Jenny Odell). What does this space maneuver like when it is a slow burning, a steadfast yet diligent, even gentle, aversion? How do we reclaim language that once stood as pillars in the place beyond, the place we named for ourselves, now utilized in complex marketing schema packaged and sold back to us? This performance proposes a grainy intimacy, one whose edges can not be fully traced, as a potential restoration of a deliciously unnameable relation.

ivcastellanos.com // cargocollective.com/amandahunt

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 3 SCREENING SCHEDULE #AliveAtSatellite Performance Is Alive performance lounge Thursday, October 3​ at ​8pm-10:30pm

8:00 PM 8:12 PM​ 8:16 PM 8:18 PM​ 8:21 PM 8:36 PM 8:40 PM 8:47 PM 8:50 PM 8:56 PM 8:58 PM 9:01 PM 9:21 PM 9:28 PM 9:32 PM 9:37 PM 9:45 PM 9:50 PM 10:03 PM 10:06 PM 10:08 PM

​Edgar Fabián Frías​ (Tulsa, OK, USA), ​KauyumariTatewari Natacha Voliakovsky​ (Buenos Aires, Argentina), ​State of Alert ​Maria Del Pilar (PILI) Lopez-Saavedra ​(Forest Hills, NY, USA), ​Real Switches Only Katina Bitsicas​ (Columbia, Missouri, USA), ​1422 1829 1702 ​Sylvain Souklaye​ (Copenhagen/France), ​MIGRANT MARKET ​Victor de La Rocque (​São Paulo, Brazil), ​Retorno à ternura (return to tenderness) 江 ​ 峰 Jiang Feng ​(New Taipei City, Taiwan), ​Organ Play 器官嬉戲 ​Julha Franz ​(Porto Alegre/Rio Grande, Brazil)​,​ ​LOOK THROUGH ​Igor Furtado​ (Rio de Janeiro, Brazil), ​There's No Sin To The South Of Ecuador ​Tales Frey​ (Porto, Portugal),​ Estar a Par - Passo a Passo | To be Privy - Step by Step ​Christopher Willauer ​(Brooklyn, NY, USA), ​Exercises ​Cherrie Yu​ (Chicago, IL, USA),​ Lydia and Matthew ​Christina Dietz​ (Jersey City, NJ), ​Cycle ​Alex Apostolidis​ (Montreal, Quebec, Canada), ​Alex's Room ​Nadja Verena Marcin​ (Brooklyn/ Germany), ​How to Undress in Front of your Husband ​Alison Starr ​(Dallas, Texas, USA), ​Egg Meat Hood ​Monstera Deliciosa​ (London, UK/Lisbon, Portugal; ), ​Liminal Bodies: practicing dis-appearance ​Tone Haldrup Lorenzen​ (Berlin, Germany/Denmark), ​C.U.N.T.R.I.E.S ​Rodrigo Amarante Guerreiro Gomes​ (Lisbon, Portugal), ​Ultraviolet Garden ​Jeffery Byrd​ (Cedar Falls, IA, USA), ​Proving Ground

​Carolina Alamilla​ ( Miami, FL, USA),​ Isn't this relaxing?!

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 4

Image credit: “Frivolous Artist” with performer Carley McCready-Bingham, credit Wild Actions

Wild Actions - Patience, Carley McCready-Bingham, Ginger Wagg (Chapel Hill, NC, USA), Frivolous Artist: Sculpture Garden

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Friday, October 4​ at ​5pm-6:30pm

Wild Actions (WA) ​is a movement-based investigative ensemble based in Chapel Hill, NC, focused on multidisciplinary performance. WA formed in 2016 to more fully represent and credit all collaborators and their labor in both creation and performance. They create independent, interactive installations; intimate, small-scale shows; evening-length performances; public interventions; and other opportunities for collaboration. They revel in approaching the obstacle, the impossible, the everyday, the behavioral, and the momentary.

After observing and acknowledging the elements of each site, Wild Actions forms a flexible performance trajectory - including visual elements and installations; performance actions; and live sound scores. WA believes audience/participants have an integral role of interaction, whether seated in a dark theater or walking down the street through an art action. They attempt to ready the public for an interactive experience, encouraging them to make their own choices during the performance. These choices inevitably affect and often determine a new performance trajectory. Just as Wild Actions wants to stand in their own agency as artists, they want audiences to not only have, but access and attend to their agency, identity, intuition, body, curiosity, and sensory experience.

Wild Actions presents ​“Frivolous Artist: Sculpture Garden,​” a durational performance installation that exists somewhere between a construction zone, a wrestling ring, and a museum style sculpture garden. What might happen when meticulousness, recklessness, care, and violence inhabit the same space? At the heart of “Frivolous Artist” there is not one subject but a quicksand of questions, interrogations, and dualities considering what makes art and artists worthwhile and meaningful. Wild Actions believes it’s critical to not just ask these questions in the creation process but present the labor of answering these questions publicly, in order to purposefully inspire a dialogue with audiences.

When and how do we discuss amongst ourselves and our communities agency, responsibility, legitimacy, validity, value, accountability, and lineage? In “Frivolous Artist” Wild Actions examines what is forced, fake, fake by intention, real, real by action, authentic and/or necessary. They question how these concepts affect our identities as “professional” artists in the public eye and in our private lives.

gingerwagg.com // FB: @wildactions / IG: @wildactionsmove

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 4

Image credit: ANGLO AS I AM images by June Cheung

Rebecca Fitton (Queens, NY, USA), ​GOLD STANDARD

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Friday, October 4​ at ​6:30pm

Rebecca Fitton ​is an improviser, facilitator, and citizen. Born in England and raised in Wisconsin, her work is largely informed by her experiences as a mixed-race immigrant. Her projects have been presented in New York City by Hemispheric Institute EMERGENYC at Abrons Arts Center, LiVE.ARTS at the Queens Museum, Gibney, Movement Research, Chez Bushwick, Staten Island Arts, and Triskelion Arts in addition to various galleries and non-traditional spaces across New York, New Jersey, Florida, Wisconsin, and Salzburg, Austria.

Shas been an Artist-in-Residence at Center Space (Grand Rapids, MI), part of the 2019 EMERGENYC Cohort (Hemispheric Institute, NYU), and is currently a Fully Subsidized Fellow at LEIMAY (Brooklyn, NY). Fitton is a member of Dance/NYC’s Junior Committee, a proactive working committee of emerging leaders in the field and is on the Steering Committee of FAILSPACE, a process-based workshop series. She holds a BFA in Dance from Florida State University.

Using gold paint to transform herself into an "Ornamental Oriental," ​GOLD STANDARD allows Fitton to ask in what ways the model minority stereotype has dissuaded the Asian female body to be present physically.

Model minorities are considered mentally virtuosic and valuable, while their bodies are considered irrelevant and firmly situated within institutionalized racism. In a painting and washing ritual, Fitton situates her own body to be scrutinized as she moves in and out of poses associated with what the Asian female body can and can’t “do,” such as poses of power and submission. A QR code projected on her body flickers in and out, sometimes revealing the words “GOAL GOLD.”

GOLD STANDARD also addresses themes of ornamentalism in comparison to orientalism in response to the presence of gold idols within Chinese culture. It also points subtly to the capitalistic drive within assimilationist Asian culture, to which the labor of the Asian female body is inherently tied, a concept that stems from Mao-ist China.

Rebeccafittonprojects // IG: @_rebecca.fitton

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 4

OCTOBER 4

Image credit: Head Shaving at the House of Yes

Stephanie McGovern (Brooklyn, NY, USA), ​Unhinged Showgirl

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Friday, October 4​ at ​9pm

Stephanie McGovern ​a.k.a. Mimi Silk, is a visual and performing artist based out of Brooklyn. Originally from the Bay area, Silk received her BA in studio art and textiles in 2013 from SFSU. She spent 2011 - 2015 in the trade show circuit selling works through Renegade Craft Fair, Shop Party and the SFSU Textile Guild.

Since relocating to Brooklyn in 2016, Silk has shown work through SVA's annual Staff Art Show, The Living Gallery and Textile Arts Center. She is now pushing past fiber arts by expanding into performance. Her circus arts and clown burlesque have been showcased at venues such as House of Yes, the Park Avenue Armory, The Footlight and at the 2019 Chashama Gala.

Unhinged Showgirl is an exercise in gender exertion, exploring the conflict between conventional female allure and the authentic self. We witness the artist looping against exterior qualities, presenting hyper feminine spectacle that does not and will not produce any tangible results or definitive female victory. Thus, we begin to speculate the aesthetic metaphor which has perpetually defined “the meaning to exist as female.”

In Frenchy Lunning’s essay Allure and Abjection: The Possible Potential of Severed Qualities, she surmised Julia Kristeva’s definition of abjection as “a denial of an aspect of the self, a denial that appears desirable within a regime that expects it.” How may the artist break the looping of metaphor that has been established before her authenticity was even conscious? She must lean into exhaustion and allow a liberation through psychosis. This space is explored to be the Psychotic Breakthrough, where things begin to break apart and something real happens.

IG: @meemeesilk

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 5

Image credit: Sandrine Schaefer, Pace Investigations No. 7 (2018) | photo by Paul Litherland

Sandrine Schaefer (Boston, MA, USA), ​Pace Investigations No. 11

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Saturday, October 5​ at ​1-5:30pm

“​Pace Investigations” is a performance art series that asks how one copes with acceleration and deceleration while enduring institutional mediation, shared space, and other external forces. Each iteration of “Pace Investigations” is new. The actions and materials of the performance are site-specific and the duration of the performance is precisely staggered. The same performance repeats multiple times consecutively, daily, or seasonally. Each time the performance repeats, its duration either loses or recovers time. In “Pace Investigations No. 11,” the same performance repeats 8 times consecutively over 4 hours and 15 minutes. In each cycle, the performance duration is decreased by half. What begins as a 128-minute performance incrementally becomes a 1-minute performance. As this constriction of time occurs, the performance must shift. Some actions that make up the performance speed up while others slow down. Some actions become unrecognizable from previous cycles. Some are abandoned while others gain significance. Some actions merge to become different actions all together. Regardless of how the performance adapts, the tension between mechanical and felt time is palpable.

"Pace Investigations No. 11​" TIME STRUCTURE Cycle 1: 128 minutes, Cycle 2: 64 minutes, Cycle 3: 32 minutes, Cycle 4: 16 minutes, Cycle 5: 8 minutes, Cycle 6: 4 minutes, Cycle 7: 2 minutes, Cycle 8: 1 minute

Since 2004, Sandrine’s work has been exhibited internationally in galleries, museums, performance art festivals, and non-art designated spaces. Sandrine has received awards through the Museum of Fine Arts Boston, The Tanne Foundation, the ICA Foster Prize, the Boston Foundation, and the Edes Finalist Award. In addition to their studio art practice, Sandrine is an independent curator and co-founder of The Present Tense Live Art Initiative + Archive and the former MEME gallery in Cambridge, MA. Through these endeavors, Sandrine has exhibited hundreds of contemporary artists at various stages in their careers who utilize live action in their work. Sandrine’s writing on time-based art has been published in a number of international online and print publications and they currently teach interdisciplinary approaches in artmaking in universities throughout Massachusetts.

www.SandrineSchaefer.com // IG: abandonedtires // FB: Sandrine Schaefer

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OCTOBER 5

Image credit: "Life is Drag" Series video stills, courtesy/credit Rachel Rampleman

Rachel Rampleman (Brooklyn, NY, USA), ​Life is Drag

#AliveAtSatellite Performance Is Alive performance lounge SCREENING​ Saturday, October 5​ at ​5:30pm

In my new "Life is Drag" video series started earlier this year, I am collaborating with and creating video portraits of the most singular and innovative emerging artists from alt-drag scenes all across the US.

Born and raised in the suburbs of the Midwest, Brooklyn-based multimedia artist Rachel Rampleman creates bodies of work that explore subjects like gender, artifice, and spectacle through the tinge of a very American lens. Part directorial, part curatorial, and part anthropological, she probes into oft–overlooked elements of American culture to reveal an expanded landscape of American life. Rampleman’s work often showcases exuberantly bold and irrepressible personalities who revel in challenging common clichés associated with masculinity and femininity.

Originally from Cincinnati, Ohio, and currently living and working in New York City, she received her MFA from NYU in 2006. Since then her work has been shown at the Shanghai Biennale (Brooklyn Pavilion), the Chennai Photo Biennale, S.M.A.K. (Stedelijk Museum voor Actuele Kunst), Art Cinema OFFoff, Monte Arts Centre, C/O Berlin, VIDEONALE.16 at the Kunstmuseum Bonn, Socrates Sculpture Park, SPRING/BREAK Art Show, Cleopatra’s, Petzel Gallery, Smack Mellon, Auxiliary Projects, The Brooklyn Academy of Music, The Wassaic Project, and The Andy Warhol Museum, among other venues.

Rampleman recently had a survey exhibition on view at the Weston Art Gallery in the Aronoff Center for the Arts (Cincinnati, Ohio) as well as solo exhibitions at VOLTA NY (New York), These Things Take Time (Ghent, Belgium), 42 Social Club (Connecticut), Carl Solway Gallery and The Neon Heater Art Gallery (Ohio), and an early career retrospective at The Center for Exploratory and Perceptual Art (CEPA Gallery) in Buffalo, New York. She is currently preparing for her upcoming solo exhibition at 3S Artspace (Portsmouth, New Hampshire).

Rachelrampleman.com // IG: @rachelrampleman

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OCTOBER 5

Image credit:1-hour sculpture (basics) - image courtesy of the artist

Matthias Neumann (Brooklyn, NY, USA), ​1-hour sculpture (basics)

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Saturday, October 5​ at ​6:00pm

Over the past 4 years Matthias Neumann has been engaged with a series of public interventions under the title “Basics”, exploring an abstracted notion of form, space and temporality in public sculpture. The work wants to be experienced both as an abstract sculptural gesture in dialogue with its environment and a usable and interactive spatial installation in the public realm. Initially conceived as part of a larger museum installation at the National Museum of Contemporary Art in Bucharest, Romania, the series has since had a substantial number of iterations throughout the US. “1-hour sculpture (basics)” condenses the temporality of the sculptural installation through a performative act. A recent iteration of “Basics”, comprised of 52 pieces of 2x4 construction lumber, and currently on view on Governors Island will be installed and de-installed within a 1-hour time frame, re-enacting the 600 lbs sculpture as an ephemeral event. An original score by composer John Moran will accompany the performance (“clock – 1 hour”).

Matthias Neumann is a Brooklyn based artist and architect. His projects were presented at venues such as Manifesta 8, Spain, Galeria HIT, Slovakia, National Museum of Contemporary Art, Romania, SITE:Lab, the Queens Museum, Montalvo Art Center, Jule Collins Smith Museum, and the Cape Cod Museum of Art, among others, in addition to a significant number of public art installations throughout the US. He is the recipient of the Kaplan Director’s Award of the Cape Cod Museum of Art, and his work has been recognized nationally and internationally. He is a fellow at Mac Dowell Colony, MoKS, Estonia, ORTE Lower Austrian Architecture Network, Krems, Austria, I-Park, and Vermont Studio Center. He currently teaches at the Spitzer School of Architecture at City College New York.

www.normaldesign.com // IG:matthiasneumann

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OCTOBER 5

Image credit: Thomas Albrecht, What Remains At The End

Thomas Albrecht (New York, NY, USA), ​Like the Delayed Rays of a Star

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Saturday, October 5​ at ​7:00pm

"The photograph is literally an emanation of the referent. From a real body, which was there, proceed radiations which ultimately touch me, who am here; the duration of the transmission is insignificant; the photograph of the missing being, as Sontag says, will touch me like the delayed rays of a star.​” - Roland Barthes, Camera Lucida: Reflections on Photography

In Camera Lucida, Roland Barthes examines the nature of a photograph by contemplating an image of his mother as a young girl, which he entitles the Winter Garden Photograph. For him, it was an “essential” image of someone he deeply loved, the photograph serving as a focal point for his elegant elaborations about photography and its relationship to death and history. Roland Barthes argued that personal interaction with a single, particular photograph—a remnant of a specific past that is no more, yet is framed and pictured—separates a viewer from the past, a time before we lived, which Barthes summarizes as History. The performance seeks to negotiate this strange, often solitary space between oneself and a world pictured that precedes us, beckoning us to contend with a resurrected past and its collision with our present moment, a longing that we encounter when a body that we once knew living beckons from an image stilled.

Thomas Albrecht’s ​performance art projects explore ritual and language in public spaces, galleries, and museums, prodding cultural beliefs and individual doubts. Current interests involve duration and elements of Absurdist Theatre, laying bare contingency in human constructions and slippage between truth and fiction. He has performed and exhibited work throughout the United States and internationally. He has lectured on topics ranging from teaching pedagogy, ritual and performance, and contemporary visual practices. He served as the Menil Scholar at the Yale Institute of Sacred Music, was selected as a Faculty Fellow for the Illinois Program for Research in the Humanities, and was the 2017-18 Georgette and Richard Koopman Distinguished Chair in the Visual Arts at the Hartford Art School. He received his BFA from the Rhode Island School of Design, a Master of Arts in Religion from Yale University, and his MFA from the University of Washington. He serves as Assistant Dean in the School of Fine and Performing Arts, and an Associate Professor in the Art Department, at the State University of New York at New Paltz. thomasalbrecht.com

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OCTOBER 5

Image credit: still from "A tribute to Tom Rubnitz" 2018

Vyczie Dorado (New York City, NY, USA), ​CUT

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Saturday, October 5​ at ​8:00pm

“Hey Nena, can you do me a favor? Ok, Imma need you to go through these tapes and…these little parts where your mom is because _____ gets really upset when… can you do this for me? Thank you”

Vyczie Dorado ​(pronounced vix-ie) is an installation and performance artist currently based in Manhattan, New York. Vyczie is a graduate of The Cooper Union for the Advancement of Science and Art with her BFA in Fine Art. She has worked as a professional artist since age 15 beginning in Kissimmee, Florida before coming to New York City for college. Stemming from her childhood experiences within an active military family and relationship with her mother, the themes explored by Vyczie include questioning what is a home, what creates a home sphere, and the difference between private and public as well as what would be the result of blurring the line that separates the two.

vycziedorado.wixsite.com/fineartist IG: @vyczie_dorado_art FB: Vyczie Dorado Art Twitter: @vycziedoradoart

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OCTOBER 5

Image credit:​ Shelter​, Mairead Delaney, photo credit Manuel Sosa

Mairead Delaney (Vermont, USA), ​Shelter​ - outdoors

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Saturday, October 5​ at ​8:00pm

I use a palm sander on a blue tarp to accelerate its deterioration.

My hand and arm, outside the tarp, visible as flesh, rupture its membrane as the sander moves, following the sander, palm to palm. The tarp can be blue environment, protective-membrane-permeated, limbo. My action can be degradation, reach, rupture, exploration, ultrasound, comfort.

Mairead Delaney ​works in performance. Her practice of embodied speech acts— sort of emergency gestures— attempts a simultaneous holding-at bay of crushing violence and an affective entrance into its structure of feeling. Delaney understands these gestures as applying pressure to pressure, so we might register the systemic, continuous effects of harm, injustice and grief over time.

Delaney is a has exhibited internationally. She has presented work in the Science Gallery Dublin, in partnership with MoMA’s Design and Violence, The Ulster Museum in Belfast, at MANA Contemporary Chicago, The Queens Museum, The Fergus McCaffrey Gallery, the VI International Biennial of Performance DEFORMES, Performance is Alive at Satellite Art Show, Rapid Pulse International Performance Art Festival, the Brooklyn International Festival of Performance Art, at ]performance space[, EXPO Chicago and Art Basel Miami. Artist residencies include the Vermont Studio Center, the Corporation of Yaddo, Oxbow and a MacDowell Fellowship.

IG: @maireadgracedelaney // vimeo.com/maireadgracedelaney

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OCTOBER 5

Image credit:​ Christie Blizard, from the Starman performance series, noise, 2019

Christie Blizard, (San Antonio, TX, USA)​ The Bill Hicks UFO Encounter

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Saturday, October 5​ at ​9:00pm

In the summer of 2015, I had a series of life altering experiences that repositioned my relationship to the world. I went through a death and rebirth and have passed through thresholds that continue to reverberate in me. They have given me insight to the ability to open a door to another time and how a single person can create historical dissonance.

I wear 3D printed masks of Elle Fanning and Scarlett Johannson because they are my death masks & the empty vessels that my other species can enter. I feel like it is my purpose to become possessed by this different place and share what I have seen. ​ After many years of having a very troubled relationship with myself and my body and to have survived this, I now see it as a site of resistance. I am fundamentally intersted in the non-binary: neither male nor female, neither straight nor gay, neither sane nor insane, neither old nor young, and neither here nor there. This is how I resist becoming docile.

Christie Blizard was born in rural Indiana, and lives and works in Texas. She was a participant of Skowhegan last year and has attended MacDowell and Artpace. Shows include those at the Contemporary Arts Museum Houston, School of Visual Arts, Black Mountain College, Good Morning America, the Roswell UFO Convention, and the Today show. She has been featured in Hyperallergic, ArtNews, Art in America, and NY Arts Magazine.

www.christieblizard.com

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OCTOBER 6

OCTOBER 6

Image credit: ​Press image by Butch Merigoni. Brooklyn, 2019.

Butch Merigoni (Brooklyn, NY, USA),​ Exactly

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Sunday, October 6​ at ​1:00pm

‘Exactly' is a conversation between two people in which the dialogue is made up of unfinished conversations overheard in public. This stream of claims and proclamations creates a fragmented foundation upon which the performers come together and fall apart. (Performers: Butch Merigoni & Eiren Shuman)

Butch Merigoni is a Brooklyn based drummer and performance maker. Eiren Shuman is a dancer, performer, story teller and weirdo for over 15 years with a focus on community inclusion, education and the queer.

www.butchmerigoni.com

PERFORMANCE IS ALIVE + SATELLITE ART SHOW NYC 2019 ​ #ALIVEATSATELLITENYC ​#SATELLITEARTSHOW ​PERFORMANCEISALIVE.COM​ // ​SATELLITE-SHOW.COM

OCTOBER 6

Image credit: ​"Labor Of Love Durational Performance: 45 min, Year: August 4th, 2019, Documentation: Alexandra Sullivan

Kathie Halfin (New York/Ukraine), ​Labor Of Love

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Sunday, October 6​ at ​2:00pm

Kathie Halfin’s durational performance ​Labor Of Love reflects on personal and politically charged experiences of immigration associated with identity stereotypes, access and belonging. In Labor Of Love Kathie explores modes of resistance to oppression through endurance, exposed vulnerability and personal storytelling.

Through reenactment of daily routines, visceral encounter with the clay, and emotionally charged and often conflicting cultural experiences that she conveys, Kathie reclaims her mixed identity and her immigrant experience. In this performance Kathie questions how the dominant language and intuitive judgements about the immigrants could be upturned and questioned.

Kathie Halfin ​is an interdisciplinary performance artist. She was born in Ukraine and raised in Israel. She is currently based in New York. Kathie performed and exhibited her work at the Immigrant Artist Biennial Fundraiser: Assembly Room 2019, White Box Gallery NYC: Summer Curatorial Series Blindfold 2019, Itinerant Performance Festival: Smack Mellon 2019, Knockdown Center: Sunday Series 2018, Art In Odd Places: BODY Performance Festival 2018, Bronx Art River Center: Starlight Park 2018, Clemente Soto Velez Cultural Center 2018, Bronx Museum AIM Biennial 2017, and the A.I.R. Gallery among others.

www.katyhalfin.com // IG: eclectic_body // FB: kathy.halfin

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OCTOBER 6

Image credit: ​Playback, Christopher Unpezverde Núñez by Walter wlodarczyk

Christopher Unpezverde Núñez (Brooklyn, NY, USA), ​The Square

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Sunday, October 6​ at ​3:00pm

I identify as a visually impaired choreographer. Due to my disability it is impossible for me to determine volume, distance and depth. For 20 years I have worked on developing a set of methods that allow me to explore the human movement and its relationship with space and other bodies in a safe way.

Historically, dance has been appreciated from a visual point of view. New attempts to decentralize the experience beyond the visual has motivated artists and presenting venues to develop tools such as audio description. The audio description consists of a person who narrates, during the performance, what is happening on stage to the audience with visual impairment. These descriptions include important details such as costumes, dance movement or facial expressions of the performers. However, this type of narration tends to be unidirectional; limiting the experience to a single point of view.

This work is my first attempt to understand how dance is perceived by others and how it can be described verbally for people with visual disabilities. I aim for the community to express not only what they see, but what they feel when they encounter my dance. The performance will occur within a square demarcated on the floor with tape.

Christopher "Unpezverde"" Núñez is a Nicaraguan/Costa Rican artist and choreographer based in New York City.

His performances have been featured in publications such as The New York Times, Time Out New York, Dance Enthusiast, and The Brooklyn Rail. Núñez is a 2018 NYFA Immigrant Artist Mentoring Program Alumni, a 2019 Leslie Lohman Museum for Gay and Lesbian Art Fellow and a 2019 Dance and Process choreographer at The Kitchen.

In NY, his work has been presented at The Kitchen, Movement Research at The Judson Church, Danspace Project, The Leslie Lohman Museum for Gay and Lesbian Art, The New York Public Library for the Performing Arts, Dixon Place, NY City Center Studios, LaGuardia Performing Arts Center, Green Space, The Wild Project, Chez Bushwick, Panoply Performance Laboratory and at Satellite Art Show during Miami Art Week. unpezverde.com

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OCTOBER 6

Image credit: ​Playback, Christopher Unpezverde Núñez by Walter wlodarczyk

SUNGJAE LEE (Chicago, IL/Korea), ​Temporal Chest Hair (inspired by Valie Export)​ - roaming

#AliveAtSatellite Performance Is Alive performance lounge LIVE PERFORMANCE​ ​Sunday, October 6​ at ​4:00pm

"​Temporal Chest Hair (inspired by Valie Export)​" is an iteration of SUNGJAE LEE’s on-going practice that examines the relationship between hair-fetish, race, and masculinity/femininity by giving a chest hair shaving service to participants and transplanting their harvested hair on his bare chest. Trough the hair exchange of service with mostly male Caucasian participants, the artist probes how personal desire can affect one’s body and mind in conjunction with racial hierarchy. Motivated by Valie Export's performance “Touch Cinema" (1969) where her breasts serve as the set of a small theater, LEE will carry a tray of hair supplies and stroll along the Flushing Ave. He intends to engage with a more diverse range of people asking for hair shaving donations and upon agreement the exchange becomes an intimate private-public moment. This action visualizes the desires of a queer Asian male who has been regarded as effeminate and sexless in Western society.

SUNGJAE LEE ​is a multidisciplinary artist based in Chicago and Seoul, Korea. He makes performance, installation, text, and video that probes the relationship between societal fringes and normativity in order to increase the visibility of marginalized groups. He has presented his works globally, including at the Seoul Museum of Art, Art Sonje Center, Hapjungjigu (Korea), Galleri CC, KHM Gallery (Sweden), Links Hall, Zhou B Art Center, New Wight Gallery, and Zimmerli Art Museum (USA). He has recently performed at the “RIPA 8″ at Darling Foundry (Montreal), “New Masculinities Festival” at the LGBT Center, and “ITINERANT Performance Art Festival” at Last Frontier (NYC). LEE received his M.F.A. and B.F.A. in Sculpture from Seoul National University. He has recently completed his masters degree in Performance Art at The School of the Art Institute of Chicago in May 2019. He is currently working in Chicago, IL as a curatorial assistant of the performance art gallery DFBRL8R directed by Joseph Ravens.

sung-jae-lee.com // IG thony0806 // FB: thony0806

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SCREENING SCHEDULE #AliveAtSatellite Performance Is Alive performance lounge Sunday, October 6​ at ​4pm-6:30pm

4:00 PM 4:12 PM 4:16 PM 4:18 PM 4:21 PM 4:36 PM 4:40 PM 4:47 PM 4:50 PM 4:56 PM 4:58 PM 5:01 PM 5:21 PM 5:28 PM 5:32 PM 5:37 PM 5:45 PM 5:50 PM 6:03 PM 6:06 PM 6:08 PM

OCTOBER 6

​Edgar Fabián Frías​ (Tulsa, OK, USA), ​KauyumariTatewari ​Natacha Voliakovsky​ (Buenos Aires, Argentina), ​State of Alert ​Maria Del Pilar (PILI) Lopez-Saavedra ​(Forest Hills, NY, USA), ​Real Switches Only ​Katina Bitsicas​ (Columbia, Missouri, USA), ​1422 1829 1702 ​Sylvain Souklaye​ (Copenhagen/France), ​MIGRANT MARKET ​Victor de La Rocque (​São Paulo, Brazil), ​Retorno à ternura (return to tenderness) ​ 峰 Jiang Feng ​(New Taipei City, Taiwan), ​Organ Play 器官嬉戲 江 ​Julha Franz ​(Porto Alegre/Rio Grande, Brazil)​,​ ​LOOK THROUGH ​Igor Furtado​ (Rio de Janeiro, Brazil), ​There's No Sin To The South Of Ecuador ​Tales Frey​ (Porto, Portugal), ​Estar a Par - Passo a Passo | To be Privy - Step by Step ​Christopher Willauer ​(Brooklyn, NY, USA), ​Exercises ​Cherrie Yu​ (Chicago, IL, USA), ​Lydia and Matthew ​Christina Dietz​ (Jersey City, NJ), ​Cycle ​Alex Apostolidis​ (Montreal, Quebec, Canada), ​Alex's Room ​Nadja Verena Marcin​ (Brooklyn/ Germany), ​How to Undress in Front of your Husband ​Alison Starr ​(Dallas, Texas, USA), ​Egg Meat Hood ​Monstera Deliciosa​ (London, UK/Lisbon, Portugal; ), ​Liminal Bodies: practicing dis-appearance ​Tone Haldrup Lorenzen​ (Berlin, Germany/Denmark), ​C.U.N.T.R.I.E.S ​Rodrigo Amarante Guerreiro Gomes​ (Lisbon, Portugal), ​Ultraviolet Garden ​Jeffery Byrd​ (Cedar Falls, IA, USA), ​Proving Ground ​Carolina Alamilla​ ( Miami, FL, USA), ​Isn't this relaxing?!

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SCREENING BIOS VIDEO

Edgar Fabián Frías​ (Tulsa, OK, USA), KauyumariTatewari

Originally a part of my solo show, ​Perpetual Flowering​, which took place at Vincent Price Art Museum in Los Angeles, California, this video is a spell being cast out through time and space. Synthesizing my indigenous heritage as a descendant of the Wixarika along with my queer, feminist, pagan, and psychedelic roots. The songs and images in this video seek to dissolve and transform our contemporary cultural and spiritual landscapes. Translating ancient ceremonial hymns into emboldened electronic anthems, I see this video as a re-claiming of self within a time of major dislocation and amnesia. Ultimately with the intention to invoke the powerful and sacred energies of our ancestor deer, Kauyumari, and of our great grandfather fire, Tatewari.

Edgar Fabián Frías​, MA MFT is a nonbinary, queer, indigenous (Wixarika) and Latinx interdisciplinary artist, curator, educator, and psychotherapist. Their work traverses across academic, social, historical, and relational planes, building bridges and weaving webs. Their practice is amorphous and expansive, rooted in both connection and in the magic that emerges from it. Born in East Los Angeles, Frías earned dual BA degrees in Psychology and Studio art from the University of California, Riverside and completed an MA in Clinical Mental Health Counseling at Portland State University in Portland, Oregon.

Consequently, Frías’ work is often collaborative and engaged with the intrapersonal and interpersonal aspects of consciousness and the continuing effects of colonial and patriarchal structures on the health and resiliency of marginalized communities. Their work has been shown at Angel’s Gate Cultural Center, Vincent Price Art Museum, Human Resources, Machine Project, SOMArts, ESMoA, Recess Gallery, Pieter Performance Space, and PAM Residencies. They are currently participating in the Tulsa Artist Fellowship.

www.edgarfabianfrias.org // IG: @edgarfabianfrias // Twitter: @hypnosan // Facebook: edgarfabianfrias

Natacha Voliakovsky (Buenos Aires, Argentina), State of Alert

As people are forced to migrate they become immersed in a state of vulnerability. They become fearful of the new context they inhabit. In order to change our point of view we must unlearn previous notions, carefully activate our senses and integrate ourselves to that new territory. Feel part of something bigger than ourselves, beyond borders until our body stops being in a state of alert.

Natacha Voliakovsky ​is a visual and political performance artist and activist. She’s been selected to participate in prestigious educational programs around the world, including EMERGENYC at the Hemispheric Institute for Performance and Politics/NYU (2019) and the intensive workshop in performance art at Venice International Performance Art Week (2018). She’s also taken part of the contemporary art residency at Überbau Haus, Brazil (2017) and Sur Polar residency, Antarctica (2014), among others.

The work of Natacha Voliakovsky revolves around the concept of culture as a humanizing system. Her solo shows include Layers of erasure, Daily reflection, Algo de mí vuelve a mí, El cuerpo del escándalo, Pecho argentino, Supervivencia, Žena ve válce, Es una pregunta abierta, among others. She has been performing in different cities around the world for the last 10 years. Her works have been featured in group exhibitions in Argentina, Uruguay, Colombia, the US, Italy, Czech Republic, India, Turkey and Ukraine.She’s created Voliakovsky Performance Method, a series of training techniques for performance art. The artist’s aim is to share the techniques she herself uses to prepare body and mind before carrying out a performance piece.As of 2019, she’s developing Argentina Performance Art, the first research platform on performance art in Argentina.

natachavoliakovsky. ru // instagram.com/natachavoliakovsky

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VIDEO SCREENING BIOS

Maria Del Pilar (PILI) Lopez-Saavedra ​(Forest Hills, NY, USA), ​Real Switches Only

“REAL SWITCHES ONLY, 2019” presents a self-portrait in which I use mi cuerpo, and energy to explore various physical/spiritual gender transformations. This piece manifested while attempting to post this original photograph taken by my friend and collaborator Morrison Gong, to Instagram. However, I was not allowed to post the picture because of my boobs and Instagram censored the picture, inherently gendering me. While editing the photograph into a ""post-able"" state I removed my boobs -and then realizing the metaphorical, theoretical, conceptual relevance to my theory of MILALMAS, the interaction with the edited/unedited photographs has now become "REAL SWITCHES ONLY, 2019" I aim to continue the conversations on the semiotics of gender identity brought forth by artists such as Ana Mendieta, Rafa Esparza and Sebastian Hernandez to explore and further conceptualize my genderqueer theory of MILALMAS. Original photograph by Morrison Gong.

Maria Del Pilar (PILI) Lopez-Saavedra is a Brown, Genderqueer, Colombian born, Miami raised, New York-based creative co-struggling for a Black/Brown Utopia.My multidisciplinary exploration of reality questions ideas surrounding power, intimacy, divinity, and art’s relationship to society. The primary material in my work has been Mi Cuerpo, my body, since it is the vessel through which I experience this life and through which this world perceives me. Visual imagery + Paintings included in my performance pieces accompany/contextualize my body. I am cultivating a reflective, creative, self determinated existence resulting in cultural production for the benefit of Queer/LGBTQ Black Indigenous Latine/x people of color and/or anyone who identifies with mi vision.

@_pili_lopez

Katina Bitsicas (Columbia, Missouri, USA), ​1422 1829 1702

Katina Bitsicas​ (Columbia, Missouri, USA), ​1422 1829 1702 1422 1829 1702 is a performative video that explores the memories associated with physical locations of my past, present and future. More specifically, I am utilizing feet (both figuratively and literally) as a unit of measurement to navigate through my grandmother's, my mother's, and then my own home. Every carpet, rug, wood panel, tile and floor covering is meticulously measured, as I pace each inch with my feet. As I walk these homes, the floor plans become permanently ingrained in my memory, inch by inch, solidifying the connection between my family and I, no matter the distance. Each home segment can be seen as a parallel world to where I currently am, and reminds me that my past and present will always be a part of me heading into the future.

Katina Bitsicas ​is a new media artist who utilizes video, photography, and performance in her art works. Her works explore the effects of crime, traumatic personal events, and architectural containments on the human psyche. Based on personal experiences, she explores these larger political, social, and psychological issues on an intimate level. Shown both nationally and internationally, Katina has exhibited in multiple galleries, museums and festivals including The Armory Show in New York, NY, Center for Contemporary Art in Santa Fe, NM, HereArt in New York, NY, Art in Odd Places in Orlando, FL, the Gezira Art Center in Cairo, Egypt, Traction Arts in Los Angeles, CA, the Grand Rapids Art Museum in Grand Rapids, MI, The Ringling Museum of Art in Sarasota, FL, The Carr Center in Detroit, MI, and Digital Graffiti in Alys Beach, FL. Born in East Lansing, Michigan, Katina currently resides in Columbia, MO. She received her BA from Kalamazoo College, Post-Baccalaureate from SACI in Florence, Italy, and MFA from the University of South Florida. She is currently the Program Director and an Assistant Professor of Digital Storytelling at the University of Missouri.

www.katinabitsicas.com // IG: @katinabitsicas

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VIDEO SCREENING BIOS

Sylvain Souklaye (Copenhagen/France), ​MIGRANT MARKET

Migrant Market is rebranding performance of the Slave Market. It challenges the political short thinking / short comings and put them into practice and reality. The performance tells the stories of immigrant children who are forced to integrate new sociological and religious concepts, with the deletion of their roots and cultures as a starting point. ​Migrant Market ​shows the consequences of denying someone’s identity. It aims at sharing what could be the destiny of former immigrants when they become a political product. ​Migrant Market is a public experience about the former happiest country in the world (Denmark) and its relationship to security and liberty. With Migrant Market, Souklaye tries to demonstrate what could be the final thoughts and acts of our passivity when states behave like predators.

Slave Market + Casual Far right + Uber economy = Migrant Market

Sylvain Souklaye is a French performer and installation artist obsessed with sampling intimacies about people who don't belong to a determinate identity, gender, class, colour or nationality.His performances are a collage of individual memories which are re-enacted for and via the audience. Self-taught, he began performing with vandalism in his hometown of Lyon, and then intimate happenings, radio experimentation and action poetry. He later developed digital art installations using field recording techniques as a narrative layer while pursuing his writer’s path. Among his best known pieces are la blackline, a 5-year durational radio performance about socio-economic survival and urban absurdity, le déserteur, a digital art installation dwelling on the notion of abandonment, and TME a docudrama performance exploring self-inflicted amnesia and resilience.

www.sylvainsouklaye.com // IG:sylvain.souklaye FB: sylvainsouklaye // Twitter: souklaye

Victor de La Rocque (​São Paulo, Brazil), ​Retorno à ternura (return to tenderness)

Return to tenderness is a tractor, a man driving that tractor that drags another man tied on a rope on a dirt road and a camera recording such action.

Victor de La Rocque is a multiple artist, studied classical music at the Carlos Gomes Conservatory, Performing Arts at the Federal University of Pará, graduation and degree in Visual Arts at the University of Amazonia.

Participates in exhibitions, festivals and artistic residencies around the World.

victordelarocque.com // IG: @victor_larocque

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SCREENING BIOS VIDEO

江峰 Jiang Feng ​(New Taipei City, Taiwan), Organ Play 器官嬉戲

What are sex and the sexual/sensual body? This work offers the audience empathetic experiences of the tactile and aural sensation with the sensual body choreography, re-imagining and re-defining human sexuality. Our bodies are our sex.

江峰 Jiang Feng is a non-gendered and multi-disciplinary artist working across-genres in movement/dance, theatre, performance art, voice, text, modeling, film, photography and theory. He attained her B.A. in English and Chinese literature from National Taiwan University in 2016. They are the receiver of the 2015 R.O.C. Government Fellowship to study and research dance abroad and “Grants for 20-40-Year-Old Writers” from Ministry of Culture in Taiwan.

Between 2016 and 2019, he was residing in Brooklyn, New York. In 2019, they graduated with an M.F.A. degree in Performance and Performance Studies at Pratt Institute. His performance works have been presented at various venues, including Itinerant Performance Art Festival, Movement Research at the Judson Church, "Thinking Its Presence" conference hosted by the University of Arizona, Exponential Festival, Dance Research Forum Ireland, HOT! Festival at Dixon Place, New Work Series at Tada! Theater, Gibney Dance, La MaMa Galleria, Waxworks at Triskelion Arts, BAAD! and Hudson Guild Theater. In Taiwan, she has worked with emerging choreographers Shiou Fen Li and KoYang Chang, and has performed at the National Theater and Concert Hall, NTU Center for the Arts, Nadou Theatre, amongst other venues.

In 2018, they were selected to be the performer of the work “Wall-Floor Positions” in the MoMA retrospective "Bruce Nauman: Disappearing Acts."

www.jiangfeng-mine.com​ // IG: jiangfeng_mine

Julha Franz ​(Porto Alegre/Rio Grande, Brazil)​, LOOK THROUGH ​is about identity. About the social

gender construction and the possibility to break it.

Julha Franz (1993, Brazil)​, Coming from a place sexual and gender liberation, Julha pushes boundaries with her own body. Through the language of performance art, she break stereotypes by using makeup as a creative tool for new queer and marginal aesthetic.

IG: julhafranz // FB: julhafranz

Igor Furtado (Rio de Janeiro, Brazil), ​There's No Sin To The South Of Ecuador

The construction of hegemonic masculinity is intrinsically linked to a colonizing and violent inheritance. The sadistic and erotic nuances present in Christianity are fundamental for the strengthening and maintenance of social normativity. We explore the potential of the body as a catalyst for sensitive and transcendental experiences, in contact with others, with nature, but mainly with the individual construction of spirituality and sexuality. We hope to stimulate discussion about the future possibilities of being a man, that do not go through the same compulsory paths, and to re-signify sexual policies that inhabit us, in search of another geography of feeling and expression. As an artist my proposals come in mixed mediums to document and explore the potential of movements and individuals that are pushing the boundaries of sexuality/gender through art, expression and behaviour in Brazil.

IG: @furtadigor

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Tales Frey (Porto, Portugal), Estar a Par - Passo a Passo | To be Privy - Step by Step

The design of a singular object - the same pair of shoes with an entrance for four feet - forces two bodies to face each other and that their steps resemble those of a dance.

TALES FREY ​(Catanduva-Sao Paulo, Brazil, 1982) is a transdisciplinary artist, lives and works between Brazil and Portugal and executes works supported by both visual and scenic arts. Ritual, body and performativity are mottoes of speculation both in his practical creations and in his academic research in the field of his formations (Graduation in Theater Direction by UFRJ in Brazil, Master in Art Theory and Criticism by the University of Porto in Portugal, PhD in Theatrical and Performative Studies by the University of Coimbra and post-doctorate in Arts from the University of Minho in Portugal). Some of his works permanently integrate public and private collections in institutions in South America, Central America and Europe.

ciaexcessos.com.br/tales-frey/

Christopher Exercises

Willauer

​(Brooklyn,

NY,

USA),

Exercises is an ongoing video performance project started in the winter of 2018. My approach is to these Exercises is researched and impulsive in nature, creating a developed conceptual framework for the gestures to be enacted. Once enacted, I begin to study the gestures and define what they are studies of. Often they are both physical and emotional studies of stamina, strength, adaptability, communication, and play. I regard this project as performative and visual gestures. A gesture is visual language, a concise and interpretive statement communicated with the body that is greater than the sum of its parts. I create text to accompany each Exercise to provide context for what was felt and what was hoped to be accomplished. Failure is an inherent aspect of this project, highlighting the importance the reactionary responses to failure carries and how it can be transformed. Most of these exercises engage with natural obstacles or attempt to utilize practical tools, attempting to find a way to understand and subvert my environment.

Christopher Willauer is a gay interdisciplinary artist and recovering Catholic from Iowa. Willauer graduated in 2015 with a BFA in Intermedia and a minor in Cinematic Arts from the University of Iowa and recently had a solo exhibition at Third Room in Portland, Oregon and have shown at Columbia College in Chicago, Montevideo, Uruguay, New York, and Nova Scotia. Willauer has hosted workshops in Iowa and New York, given artists talks at PNCA and Northeastern University. Willauer was an artist in residence at Heima Residency in Seydisfjordur, Iceland, Third Room in Portland, Oregon, and New York Arts Practicum in NYC.

www.christopherwillauer.com // IG: @ChristopherWillauer

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SCREENING BIOS VIDEO

Lydia and Matthew is a screen duet made with Lydia Feuerhelm, a former partner dancing teacher at Ballroom Chicago, and Matthew Lemus, a janitor at a downtown highrise residential building. I spent a month and a half working with Lydia and Matthew separately, collecting their biographical information, performance histories, movement habits, and life routines. In the end I put together a solo for each of them that corresponded with each other.

Cherrie Yu is a dancer, filmmaker and woodworker based in Chicago. They have shown works at Chicago Cultural Center, Links Hall, Moving Images Chicago, Zhou B Art Center, Virginia Commonwealth University, and Grace Exhibition Space New York.

cherrieyu.cargo.site // IG: @cherriechurro

"The menstrual cycle is the monthly series of changes a woman's body goes through in preparation for the possibility of pregnancy. Each month, one of the ovaries releases an egg — a process called ovulation.

At the same time, hormonal changes prepare the uterus for pregnancy. If ovulation takes place and the egg isn't fertilized, the lining of the uterus sheds through the vagina. This is a menstrual period.”

-by Mayo Clinic Staff

Christina Dietz is a graduate of the Pennsylvania State University, where she received a BA in psychology and a BFA in Sculpture. Growing up in Central Pennsylvania has helped to cultivate her interest in where things come from and how they are made. She explores the glut and mechanized world of post-industrialized processed food as well as the intimate act of home cooking. She is interested in addressing power dynamics with dark humor and sees food as a representation of humans. Both have a short shelf life before they expire.

cmdietz25.wixsite.com/christinadietz // IG: christinamdietz

Christina Dietz​ (Jersey City, NJ), ​Cycle

Cherrie Yu​ (Chicago, IL, USA),​ Lydia and Matthew

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SCREENING BIOS VIDEO

A​lex Apostolidis (Montreal, Quebec, Canada), Alex's Room

Welcome to Alex's Room, an environment that resembles a distorted psychedelic playhouse. Many tokens of commercial North American culture such as imagery of tacky decorations, cowboys, and junk food are chaotically sewn together to create a mesmerizing and surreal loop. The characters on the show have agency in how they’re styled, similar to a reality television show. This allows for an absurd narrative to be created when they come together. Alex's Room is an experiment of kitsch and glitch aesthetics, featuring many bright colours, distortion and layering that create a mesmerizing visual. The video becomes a rabbit hole of repeating and overwhelming patterns that require multiple viewings to interpret. It is challenging to understand the absurd situations which creates a consuming feeling amongst most viewers.

The bright and flashy content that is generally seen in American entertainment is paralleled and then purposefully distorted to create an overwhelming feeling for the viewer. I wanted to create an environment that feels stressful yet enchanting, similar to the effects of watching a dramatic reality tv show, but then contradict the orthodox idea of television through excessive editing. The ironic exaggeration of throwaway culture is portrayed through the messy eating of goldfish crackers, misdecoration of Christmas tinsel, and improper use of dishwashing gloves, all taken out of the domestic context.

Alex Apostolidis makes screen prints, photographs and videos that demonstrate a playful approach to emotional vulnerability and identity. They picked up photography at an early age after stealing their family’s camera during vacation. This interest in the image expanded to exploring video as a medium during high school. Their work explores hapticness as a way to communicate overwhelming feelings surrounding gender, broadcast and the viewer-subject dichotomy.

Their aesthetic draws inspiration from kitsch and glitch, creating a psychedelic and nostalgic distortion. The concepts of television and play are core inspirations for their work. They are currently working on their Bachelors of Fine Arts at Concordia University in Montreal, Quebec.

www.apostolidis.ca // IG: @igaremath

Nadja Verena Marcin​ (Brooklyn/ Germany), How to Undress in Front of your Husband

The video How to Undress in Front of your Husband (2016) is a remake of a Hollywood 1937 short film by Dwain Esper showing the alleged “dos” and “don’ts” of a woman undressing in front of her husband. Nadja Verena Marcin slips into the roles of Miss Elaine Barrie Barrymore, who supposedly takes off her clothes in an exemplary manner, including her lascivious look, and Trixie Friganza, who tramples, drags and stumbles out of her clothes. The whole thing is commented on by the omniscient male voice of the 1937 original, which praises or criticizes the supposed merits of one and the shortcomings of the other in wisdoms such as “It is not what you obviously reveal, but what you artfully conceal that makes undressing a fascinating art” and statements such as “She knows not only how to get a husband, but how to hold him”. In the video, Marcin embodies both female characters and shows the frightening sexism of the “educational” concern in a caricaturing way. In the context of today’s world, she shows its absurdity and the need to confront the culture of previous generations as a means of coming to terms with it.

Nadja Verena Marcin graduated from the Visual Art Department of New Genre, School of the Arts at Columbia University, New York in 2010, after obtaining a Dip¦oma of Fine Arts from the Department of New Media at Academy of Fine Arts Münster. She has taught and lectured at P.I. Arts Center, New York, City College of New York and Brooklyn College. Her work has been featured in exhibitions at ZKM - Museum for Art and Media, Karlsruhe; Garage Museum of Contemporary Art, Moscow; Zendai MOMA, Shanghai (Himalajas Museum); Museo National de Arte, La Paz; Veneto Videoart Archive, Verona; Museum Ludwig, Cologne; Berkeley Art Museum, Berkeley; ICA Philadelphia; Kunstmuseum, Bonn; 5th Moscow International Bienna¦e for Young Art, Moscow; Pa¦acio Portales, Cochabamba; Haus der Kunst, Munich, and other venues. Marcin’s work has been featured in Texte zur Kunst; Art Forum; VICE Creator’s Project; Huffington Post; Interview Magazine; Artnet News amongst others.

www.nadjamarcin.com

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SCREENING BIOS VIDEO

Alison Starr ​(Dallas, Texas, USA), ​Egg Meat Hood Egg Meat Hood is an infusion of several dreams situated in loss, longing and desire and the work of Vanessa Beecroft’s tableau vivants, Luis Buñuel’s provocative film and the strangeness of Samuel Beckett’s Happy Days.

The work is a created and controlled response to trauma induced interior chaos. Absurd, simple and somewhat grotesque ​Egg Meat Hood is an answer to the question “what would it be like if…”’

As an interdisciplinary artist and lecturer, ​Alison Starr draws on her experiences with cultures and communities that have been impacted by outside forces. She is intrigued by how, instead of burying their pain, they memorialize it in ceremony and ritual.

Beginning with Bikini Islanders displaced by atomic testing, her own exploration continued in work with Vietnam War era refugees and most recently with descendants of slaves in Portobelo, Panama. Her practice includes writing, performance art, and curating work that addresses issues of personal displacement.

Curator and director of a college art gallery, she holds an MFA from UTA, is a contributing member of ART BEEF/BEEFHAUS, recently lectured on performance at the Contemporary Art Museum in Houston and exhibited video documentation of performance and lectured at the Modern Art Museum of Fort Worth.

@alijostarr, a.j.starr, alisonstarr.org

Monstera Deliciosa (London, UK/Lisbon, Portugal; ), Liminal Bodies: practicing dis-appearance As part of the ongoing multimedia series '​Liminal Bodies​', the iteration 'Practicing dis-appearance' is a video piece problematising the notion of visibility for gender non-conforming subjects and the complex dynamics of being seen, acknowledged and being erased, standing out and blending, thriving and being annihilated. In this video, the viewer is confronted with an alien shape embedded in a natural background. This shape appears to be inhabited by an amorphous living body that produces subtle movements, blurring the lines between subjecthood and objecthood. The series originated spontaneously during a trip to Sao Miguel, Azores, and was shot in various outdoor settings in Portugal to emphasise the connection with the public space and the perils that being visibly gender non-conforming entails in today’s world. The materials used are all found and are intended to act as reflective shields that both allure and repel and that activate proxemics of vicinity and separation, compassion and loathing, witnessing and voyeurism.

Monstera Deliciosa is a multi-faceted performative phenomenon whose work and persona reflect on gender non-conforming subjectivities and their construction and positioning as other in the public space. With a background in performance art, Monstera’s works vary in methodology and format, spanning across and often combining performance, video and installation. Monstera Deliciosa is currently based between London and Lisbon where she is presenting iterations of her ongoing series 'The Iconography of the Vulnerable Self' and 'Liminal Bodies', while producing a new inter-medial series of work 'Nothing here, to See' continuing to research notions of queer and trans visibility, ephemerality, commodification and erasure with an emphasis on the dynamics of being looked at and consumed.

www.monsteradeliciosapresents.com // IG: monsteradeliciosapresents

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VIDEO SCREENING BIOS

Tone Haldrup Lorenzen​ (Berlin, Germany/Denmark), ​C.U.N.T.R.I.E.S

C.U.N.T.R.I.E.S ​Three women from three continents –North America, Europe and the Middle East has dressed as their nation, and with mouth full they chew on the experience of their first sexual encounter. Each video have been filmed in the represented country. MY CUNTRY. Video Installation exhibited at And What?

Queer. Arts. Festival (UK), Depp Trash Romance in (UK), The Gender House Festival at Kvinde Museet (DK)

Tone Haldrup Lorenzen is a Danish artist working in the expanded field of theatre and performance art presently based in Berlin. Tone is working as freelance director and actor, but produces all her own work through the international performance-company CuntsCollective, which she co-founded in 2018. Her latest work My Cuntry premiered at The Royal Theatre in Copenhagen under DFFF, and she is currently touring around Europe and China with her two performance MotherFathers and My Cuntry. She has just received funding from The Danish Arts Council for her upcoming piece AKLL, which will premiere in 2020.

CuntsCollective have projects coming up in Brazil and USA in 2021 and 2022. She is the co-founder of the theatre-company Til Lalezar Theatre http://www.tillalezartheatre.com/ (2016). She has studied at the interdisciplinary art school Performers House and received her Master in Fine Arts in Physical Theatre at Dell'Arte International School of Physical Theatre, USA (2016).

IG: c_ntscollective // FB: Censored Collective

Rodrigo Amarante Guerreiro Gomes (Lisbon, Portugal), ​Ultraviolet Garden

In ​Ultraviolet Garden​, objects are positioned on chessboard as pieces of a strategy game where lenses, video cameras and magnifying glasses are components which reflect foundfootage images of a murder occurred in 12th July 2007. This date remarks a situation where two Reuters journalists died because the telephoto lenses from their cameras were mistaken as two RPG guns during the North American Army air strike against the New Baghdad district. Over three years, Reuters tried to access the video attack through the Freedom of Information Act Law without success.

On 5th April 2010 during the leakage of information, the video became public under the name of Collateral Murder on account of Wikileaks.

Rodrigo Gomes (PT), born in 1991. His work questions the trivialization of the images through the screens that are now part of a globalizing fabric that binds us to another order of information transferals. Since 2014, Rodrigo Gomes has made collective and individual exhibitions, such as 18º Media Art Biennale WRO 2019 in Wroclaw (Poland), “Mammographies through Satellite” in The Room (2019), “How to deposit imagens on a bank” in Appleton [BOX] (2018), “Maker Art – The New Art Fest” in Nacional Society of Fine Arts (2018), Fuso – Internacional Videoart Festival of Lisbon in MAAT (2018), Sonae Media Art Award – National Museum of Contemporary Art (2017), Viga Goiva Maço in Quadrum Gallery (2017), Mostra (2017) and Múltiplo Festival in Zaratan (2016). In 2019, Gomes won the Sonae Media Art Award, in 2018 the Prémios Novos and in 2019 received a grant for international artistic production form Calouste Gulbenkian Foundation.

rodrigogomes.xyz | IG: rodrigoamgomes

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SCREENING BIOS VIDEO

Jeffery Byrd​ (Cedar Falls, IA, USA), Proving Ground

This brief poetic work speaks for itself.

Jeffery Byrd ​is a performance and video artist who has presented work all over the globe.

JefferyByrd.com // IG: @Jeffery_Byrd

Carolina Alamilla ( Miami, FL, USA), Isn't this relaxing?!

Influenced by pop-culture/social media driven ideas of self-care, form DIY spa nights, stock images with motivational quotes, and Youtube ASMR videos, this video was an attempt to create a relaxation room – of sorts. Combining visual and auditory elements to engage the visitor, whether creepily or forcibly, one is reminded to RELAX.

Carolina Alamilla was born and raised in South Florida, her creative practices are driven by the concept of home and the familiarities that make it, in her case: fruit, language, and landscape. Her current fascination is with Youtube videos dealing with self-care and self-betterment. Carolina holds a Master of Fine Arts (MFA) in Ceramics & Transmedia from Texas Tech University, and a Bachelor of Fine Arts (BFA) from the University of North Carolina - Chapel Hill. She is a recipient of the Graduate Fellowship from the National Council on Education for the Ceramic Arts and Research Support Award from Texas Tech University for her research on projection mapping on ceramic forms.

In her research, you can find her collaborating with various artists, ranging from poets to dancers. All who contribute to the development of her artwork.

carolinaalamilla.com // IG: @littlesoul__

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ABOUT PERFORMANCE IS ALIVE Based in PERFORMANCE Brooklyn, NYC, Performance ABOUT IS ALIVE Is Alive is an online platform featuring the work and words of current performance art practitioners.

Through interviews, artist features, sponsorship Based in Brooklyn, NYC, Performance Is Alive is an online platform featuring the work and curatorial projects, we aim to support the performance community while offering and words of current performance art practitioners. Through interviews, artist an access point to the performance curious. Performance is Alive at SATELLITE ART SHOW is features, sponsorship and curatorial projects, we aim to support the performance curated by Quinn Dukes (Founder + Director). ​p​erformanceisalive.com​ | #performanceisalive

community while offering an access point to the performance curious. Performance is Alive at SATELLITE ART SHOW is curated by Quinn Dukes (Founder + Director).

ABOUT SATELLITE ART SHOW SATELLITE ART SHOW presents interactive projects by young dealers, artist-run spaces and Performance Is Alive is a fiscally sponsored project of Fractured Atlas, a 501(c)(3) non-profits. By fostering a range of programming, SATELLITE is able to offer patrons and charity.

Contributions made payable toart Fractured Atlas forofthe purposes of collectors with a unique experience where is at the forefront creative expression, activism, Performance Is Alive are tax-deductible to the extent permitted by law. and curiosity. Our exhibitors are encouraged to provide our visitors both an opportunity to p​ erformanceisalive.com​ // fundraising.fracturedatlas.org/performance-is-alive collect new works of art as well as to present exhibitions that are engaging, experiential and interactive. SATELLITE is expanding perceptions on art and community and providing an inclusive environment for guests to feel comfortable in exploration and discovery. SATELLITE is ABOUT SATELLITE ART consisting SHOW of current team members Brian Andrew Whiteley, Quinn an Artist-Run organization Dukes and Anna Benston. ​s​atellite-show.com​ | #satellilteartshow SATELLITE ART Liisa SHOW presents interactive projects by young dealers, artist-run

spaces and non-profits. By fostering a range of programming, SATELLITE is able to PERFORMANCE IS ALIVE at SATELLITE ART SHOW NYC​ is made possible by our generous sponsors, partners, and of offer patrons and collectors with a unique experience where art is at the forefront donors. Thank you for allowing us to continue featuring the brave and brilliant work of so many performance and video creative expression, activism, and curiosity. Our exhibitors are encouraged to provide project of Fractured Atlas, a 501(c)(3) charity.

Contributions art practitioners. Performance Is Alive is a fiscally sponsored our visitors both an opportunity to collect new works of art as well as to present made payable to Fractured Atlas for the of Performance Is Alive areinteractive. tax-deductible to the extent permitted by exhibitions thatpurposes are engaging, experiential and SATELLITE is expanding law. | ​fundraising.fracturedatlas.org/performance-is-alive perceptions on art and community and providing an inclusive environment for guests

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