Aren’t Latinidad and spichood similarly fucked—the fuckedness of always already being the same or of resemblance in repetition? Even when I attempt to reassemble new skin, sick of my spic casings, I remain destined to be crucified through them. I can only discard and abandon the carcass; I’m stuck. My new being through ecdysis remains within “the order of the same.”
Read MoreIn this paper, I consider works by three artists — Smithson, Roni Horn, and Felix González-Torres — as different, successive approaches to the non-human/inorganic in late modern and contemporary art. I think the displacement of the human measure of art from two related, but different perspectives.
Read MoreTo be read aloud. In memoriam, José Muñoz and Terry Adkins.
1. The ideal rock and roll song is 3 minutes long, and I’m Listening for it like it’s living to listen for sensual disclosure.
Read MoreThree days ago, I heard this Latin translation – habeas corpus, you should have the body. It got me thinking about how impossible this sounds as an open statement, to "have the body," whether we are talking about our own body and forming it accordingly, or having another body (you should have).
Read MoreThe traffic in sexual images of girls hardly began with the advent of SMS picture messages. However, the coining of the term “sexting” (sex + texting) to refer to the trade in sexual images sent by mobile-phone users in recent years has reframed cultural anxieties over the economy of representation of the sexual girl.
Read MoreDean Moss’s johnbrown and Cynthia Oliver’s BOOM! were staged in New York City in October 2014, the former at the Kitchen and the latter at New York Live Arts. We were both present at both of these performances, and, knowing that W&P would be publishing this special issue, we were struck by the significance of female youth and intergenerationality in both productions. We decided to have a conversation.
Read MoreThe idea for The Haptic issue of Women and Performance was inspired by a quote from an interview with the artist Pope. L, who once described his crawl works as having “this marvelous creamy nougat center operating inside the performer, and this space is unfortunately not available in images and mythologies that surround the work.”
Read MoreTouch 1. To write on touch is to recognize that one is touching and being touched.
In its seeking to philosophize the feel, to paraphrase Stefano Harney and Fred Moten on hapticality and love, this experimental exercise necessarily comes to understand itself as a performance of touching rather than a text about touching
Read MoreI listen to my now late mother breathing. She’s 93. She is taking an afternoon nap in her bedroom. I am in the "family room" making this haptic. The sounds of her breathing are projected over the speaker on the audio-surveillance system.
Read MoreChronophilia/Chronophobia emerged from a poem/script that I wrote blindfolded. It loosely experiments with surrealist automatic writing practices, the use and subversion of meditative ritual, histories of labor, and critical theories of the attention economy.
Read MoreOne of the problems with time-based endurance performances like my crawl works is they have this marvelous creamy nougat center operating inside the performer, and this space is unfortunately not available in the images and mythologies that surround the work. So, typically, the surface of the work becomes the life of the work.
Read MoreSitting in La MaMa's Ellen Stewart Theatre, we listened carefully, watched closely, responded vocally, and were ultimately mesmerized by the participants at the “Women of the 5th Element” performing at the first American Human Beatboxing Festival organized by beatrhymer Kid Lucky in May 2011.
Read MoreIn A Thousand Plateaus, Gilles Deleuze and Félix Guattari develop a concept of the artist as not one who seeks to represent the world, or even to express or perform her soul or subjectivity, but as a “cosmic artisan” – an arranger and forecaster of a cosmic-people-to-come, a performative conduit through which intensive cosmic events continue and extend outward.
Read MoreNicki Minaj – former American Idol judge and three-time Grammy nominee (including Best New Artist) – has for a half-decade defied expectations of what a black female rapper should be, and in the process has single-handedly expanded the roles that someone like her can inhabit and perform.
Read MoreI met Antonia Baehr at the Abrons Art Center—a place that has always reminded me of a very friendly Soviet fortress. Baehr was about to perform her piece “Laugh,” a solo performance which explores the act of laughter, that evening as part of the Queer New York International Festival.
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