LiVEART.US in collaboration with Emergency INDEX: "Performance & Documentation" hosted at QUEENS MUSEUM, Sunday, February 17, 2:00PM

Performance & Documentation

 Feb. 17, 2019
2:00 – 5:00 PM

LiVEART.US, Performance Art initiative created and organized by artist, and independent curator, Hector Canonge, welcomes the presentation of the special program “Performance & Documentation” in collaboration with Emergency INDEX featuring the work of local artists, and the release of INDEX Vol. 7, a publication that brings together 260 performance works from 51 countries, documented and discussed by their creators.

This month’s program, a jointly effort by the makers and editors of Emergency INDEX and LiVEART.US, brings together, performance-makers and editors to address the performance-maker's struggle for their voice in the framing and discussion of their own work, and to think about self-documentation, introspective practices, and how artists see themselves in Performance Art. Guest artists featured in the new publication, INDEX Vol. 7, will perform and join in the panel discussion with curators, editors, and art administrators.
Featured Artists:
NICOLE ANTEBI in collaboration with l'Ao (Melissa Grey and David Morneau), RORY GOLDEN, NINA ISABELLE, KYOUNG EUN KANG, and BRIAN McCORKLE with EDWARD SHARP.

Anya Liftig, Zoe Guttenplan, Hector Canonge, and guest artists.

Emergency INDEX is part of Ugly Duckling Presse’s Emergency series of performance-related publications, which also includes Emergency Playscripts, eclectic performance notations which highlight tensions between text and performance, as well as the forthcoming Emergency Analysis series, annual monographs on performance from theorists outside the field.  Emergency INDEX is inspired by the early issues of the performance art magazine High Performance (1978-1997), in which artists were openly invited to send in reports of their performance artworks. Performance art, at that time a new form, had yet to define itself; therefore, the editors of High Performance deemed that any artist who called their work performance art was legitimately defining the field. Consequently, High Performance became an amazing survey of real practice, a definition of performance art created internally by its varied creators, not post-rationalized or interpreted by critics and institutions. Since then, performance art has become one of the best documented forms of performance practices, while undocumented acts of performance have proliferated in fields outside of visual art.
More information:
LiVEART.US is platform established to support and feature works by local, national, and international artists working in Performance Art and its diverse manifestations. Created and organized by interdisciplinary artist, Hector Canonge, LiVEART.US features works where the body, as main instrument for artistic creation and expression, is the catalyst for sensorial experiences, cultural interpretation, and critical reflection. The program’s main objective is to further support the creation and presentation of new works in Live Action Art in an environment suitable for reflection and dialogue. LiVEART.US follows and complements the monthly program TALKaCTIVE initiated by Canonge in September 2015. Since its inception in 2016, LiVEART.US has presented the work of artists from diverse cultural backgrounds, ages, gender, and national origin creating a dynamic structure and an international network for the exploration, experimentation and execution of Live Art practices.

About the artists:

Nicole Antebi works in non-fiction animation, motion graphics, installation while simultaneously connecting and creating opportunities for other artists through larger curatorial and editorial projects such as Water, CA (a six-year collaboration with Enid Ryce) and Winter Shack (a three-year collaboration with Alex Branch). She has taught film/media courses at CUNY Staten Island, Parsons The New School, and Cal State Monterey Bay. She frequently collaborates with UNY, l’ao , and most recently with electronic music pioneer, Vince Clarke. She recently co-produced the five-part web series, Just Browsing, written by Joanne Mcneil and was the 2015 recipient of a Jerome Foundation film/media grant for a forthcoming film about the border landscapes of El Paso and Juárez.
L’Artiste ordinaire is the inevitable collaboration between Melissa Grey & David Morneau. They create sound in performance. Their music is a heady mix of machined EDM beats, sound art practices, and soulful figurations. They bore inside moments of sonic ecstasy, exploding them into a trillion sparkling shards of shimmering sounds that swirl in a paradox of energized stasis. l’Artiste ordinaire designs projects that expand in endless variation to collaborate with musicians, video artists, designers, and creative technologists with Grey’s benjolin synthesizer and Morneau’s trombone at the center.

Rory Golden has received fellowships from Yaddo, the Bemis Center for Contemporary Arts, the Blue Mountain Center for major projects“Your One Black Friend” and “See Related Story: The Murder of J.R. Warren”.Recent awards include a research grant from Duke University Libraries Special Collections, a Puffin Foundation Grant a residency at Blue Sky Project and the Manhattan Graphics Center, all towards completing “You Think I Can Eat All This Chicken Here?” In 2012 Rory had a solo exhibition “Pack up a Little Truck and Keep it on Push: Works on Paper 2008 Forward” at Art for Change (NYC) and he was the Phillip C. Curtis Artist in Residence at Albion College (MI).

Nina Isabelle is a process-based multidisciplinary artist working with language, perception, action and phenomena. Through performance, object construction, photography, video, and documentation her projects aim to generate processes that fortify meaning through psychic imprinting in spite of cerebral interpretations. Motivated by the failure of dialogue, the dissonance between form and content, the imposition of objects in space, as well as the deficiencies of literal language, she frames her process as both an inquiry into and a demonstration of a recursive method that continually cultivate futures by reforming the past. Isabelle is the founder and organizer of Three Phase Center for Collaborative Art Research & Building where she facilitates and documents artist's process, projects and presentations. Currently she is interested in developing differential definitions of process and approach by understanding how sequence and simultaneity impact concept and action when interlaced with physical material, documentation, and the observer over time. Her work has appeared at such places as The Linda Mary Montano Art Life Institute, Panoply Performance Laboratory, The Elizabeth Foundation, Living Arts Tulsa, NA Gallery, Bangkok Underground Film Festival, San Diego Art Institute, and The Unstitute. She has collaborated with Feminist Art Group, Muscular Bonding, and Anarcho Art Lab.

Kyoung Eun Kang work varies in format from live performance to video, drawing, photography,text and sound pieces. In her attempt to capture the subtle beauty of human encounters and growth, she embracing dynamic actions that resonate in the human experience, such as walking, breathing, eating and gathering. For the last few years she has been videotaping some of the New York City ‘s most humble workers: flower sellers and elderly couples who live in Nebraska. Working closely with her family in Korea, she is exploring her personal transformation, growth and identity trying to understand the boundaries in personal and familial relationships. Her work raises questions about how we build and keep family bonds in a constantly changing and multicultural time and space.

Brian McCorkle is a composer, performer, and digital artist. In addition to being a founding member of the composer's collective Varispeed and his work as a solo artist, he is the Co-Director of the Panoply Performance Laboratory (PPL) with Esther Neff. PPL makes large scale performance art operas in addition to duo and small group performances around the world. Brian McCorkle will present work in collaboration with Edward Sharp.

About the panelists:
Anya Liftig is a writer and performer. Her work has been featured at TATE Modern, MOMA, CPR, Highways Performance Space, Lapsody4 Finland, Fado Toronto, Performance Art Institute-San Francisco, Queens Museum, Atlanta Contemporary Art Center, The Kitchen at the Independent Art Fair, Performer Stammtisch Berlin, OVADA, Joyce Soho and many other venues. In “The Anxiety of Influence” she dressed exactly like Marina Abramovic and sat across from her all day during “The Artist is Present” exhibition. Her work has been published and written about in The New York Times Magazine, BOMB, The Wall Street Journal, Vogue Italia, Next Magazine, Now and Then, Stay Thirsty, New York Magazine, Gothamist, Jezebel, Hyperallergic, Bad at Sports, The Other Journal, and many others. She is a graduate of Yale University and Georgia State University and has received grant and residency support from The MacDowell Colony, Yaddo, Virginia Center for Creative Arts, Franklin Furnace Fund, KHN Center, Atlantic Center for the Arts, The New Museum, Mertz Gilmore Foundation, Flux Projects, University of Antioquia and Casa Tres Patios-Medellin, Colombia. Her first book,
a memoir, is forthcoming.
Zoe Guttenplan (Managing Editor of Emergency INDEX) is a book artist, designer, and writer based in Brooklyn, NY. She is interested in the history of the written or typeset word, and has worked with non-profits including Ugly Duckling Presse, Archipelago Books, Get Thee to the Funnery, NEYT, and the Operating System.
Hector Canonge (Founder and director of LiVEART.US) is an interdisciplinary artist, independent curator, and cultural entrepreneur based in New York City. His work incorporates the use of new media technologies, cinematic narratives, Live Action Art, and Social Practice to explore and treat issues related to constructions of identity, gender roles, and the politics of migration. Challenging the white box settings of a gallery or a museum, or intervening directly in public spaces, his performances mediate movement, endurance, and ritualistic processes. Some of his actions and carefully choreographed performances involve collaborating with other artists and interacting with audiences. His installations, interactive platforms, and performance art work have been exhibited and presented in the United States, Latin America, Europe and Asia. As cultural entrepreneur, Canonge created and runs the annual Performance Art Festival, ITINERANT, started ARTerial Performance Lab (APLAB), an transcontinental initiative to foster collaboration among performance artists from the Americas, and directs his independent programs: PERFORMEANDO, a program that focuses on featuring Hispanic performance artists living in the United States and Europe, PERFORMAXIS, an international residency program in collaboration with galleries and art spaces in Latin America. After living most of his life in the United States, Canonge returned to South America in 2012, and lived abroad for almost 3 years. The artist returned to New York City in late 2015 to continue with the development and execution of new projects, exhibitions, and initiatives among them: TALKaCTIVE, LiVEART.US, and CONVIVIR the international residency program at MODULO 715. In 2017, Canonge organized the performance art platform, NEXUS, premiered during Miami Art Basel, and worked in the development of LATITUDES, the first International Performance Art Festival of Santa Cruz de la Sierra, presented in Bolivia. Before the end of 2018, the artist just presentations in Moscow, Russia, and in Morni Hills Performance Art Biennale II in India. He is currently back in NYC after having completed the organization and presentation of LATITUDES, the first International Performance Art Festival of Santa Cruz de la Sierra to take place in Bolivia in January 2019.

Let's try listening again, 13th A.I.R. Biennial

January 9 - February 3, 2019
Opening Reception: Wednesday, January 9, 2019, 6-8pm
Curated by Sarah Demeuse and Prem Krishnamurthy
Participating artists: Angeli, Angie Keefer, Anna Riley, Catalina Viejo López de Roda, Dulce Gómez, Fotini Vurgaropulou, Hagen Verleger, Irene Mohedano, Jane Long, Johanna Unzueta, Julie Nagle, Karen Donnellan, Katie Hector, Katja Mater, Katy Mixon, Keren Benbenisty, Kyoung eun Kang, Library Stack, Lukas Eigler-Harding, Malin Abrahamsson, Maren Henson, Matthew Schrader, Olivia Baldwin, Romily Alice Walden, Sari Carel, Scaleno Collective, Shuyi Cao, Suzanne Mooney, Tselote Holley, and Zhenya Plechkina
Public Programs:
January 9, 2018: 
Performance by Angeli, dancing in our sleep, 2019, performing with Jayoung Yoon
February 2, 2018: 
12-3 PM Performance by Irene Mohedano Tengo Miedo; No Tenemos Miedo / I'm afraid; We are not afraid, 2018
3 PM Launch of A Primer on Working With Disabled Group Members for Feminist / Activist Groups., 2018 by Romily Alice Walden
Dear Visitor, 
This biennial exhibition starts where its open call ended: with the sentence “Let’s try listening again.” Echoing a contemporary sentiment, this title voices an urge to stop the treadmill of self-same thought and perceive what is near, around, yet not always seen. It highlights a pause for respect and discovery that is necessary to imagine new, relevant relations—whether social, intellectual, emotional, or cosmic. The point being: we can’t know everything, but still we need to envision novel forms of communing.
Listening to the five hundred and forty-four voices that responded to their open call, we gradually selected a constellation of twenty-nine works that resonate with this theme. The exhibition brings together two performances, two distributed projects, and twenty-five works for the gallery by participating artists far and wide. The catalogue takes the form of a website that can produce encoded PDF communiqués around the thematics of this year’s biennial.
Gratitude to all applicants. This was hard.
S. & P.
A.I.R. Gallery is wheelchair accessible via ramp. There are accessible toilets in the venue. There is comfortable seating with backs. Free tap water is available. 
The venue is nearest to the F train at York St (0.2 miles) and the A train at High St (0.5 miles). The nearest wheelchair accessible trains is the B, Q, R at Dekalb Av (1.1 miles) and the 2, 3 at Borough Hall (0.8 miles).
The roads immediately surrounding the gallery are cobblestone. The nearest accessible parking garage (for an hourly fee) is two blocks away at 100 Jay St. No ID necessary for entry. Please contact for more information.

every morning and every evening at Soho20 gallery +/- project space

Kyoung Eun Kang: every morning and every evening
back to the +/- Project Space
November 17 – December 22, 2017
Opening Reception: Fri. November 17, 6-9pm
1.Care package I_kyoung eun kang
Image: Care package I2017. Pharmacy envelopes, a cardboard box, 14 x 19.5 x 19.5 inches.
The installation for the +/- Project Space is part of an ongoing project by artist Kyoung Eun Kang, in which she unpacks the contents of care packages sent to her from her mother in South Korea. In this iteration, Kang presents us with four boxes, each flipped open and upright in diorama format to reveal the contents. Inside, she has edited and rearranged the sent objects – towels, dried anchovies, stones, bottles, pharmacy envelopes, detergent, hot pepper powders,  creating still lives and landscapes from quotidien wares. Each box itself is as much a part of the work as its contents, down to the intentionally positioned flaps.
The project’s title comes from the use instructions on a pharmacy envelope. Although the items sent in each package are basic – nothing that can’t be found somewhere in New York City, each one carries something from home – a texture, a scent, a design, a reference. In collaboration with her family, Kang creates containers that carry time, care, and distance; that embody routines as well as relationships. It is the binding banality of family and history that tethers a person to the seemingly ignorable objects, tools, and flavors in our lives, whether chosen by us or not.
On Fri. December 1 SOHO20 will host a performance as part of this installation, where Kyoung Eun Kang will attempt to intuitively match the footsteps of her mother, wearing her mother’s shoes that don’t fit, sent to her in a care package.

1402 Seok-Dong at Nurtureart

Kyoung eun Kang
1402 Seok-Dong

Opening Reception: Friday, October 13th, 7–9pm
On View: October 14th–November 5th

NURTUREart is pleased to announce 1402 Seok-Dong, a solo exhibition by Kyoung eun Kang.

Kang enshrines routine and subtle interactions into delicate monuments. Her works, which reveal the universal in the particular, memorialize the gestures that attach and bind us to family and strangers alike. Yet, only select details of Kang’s history are shared, reminding us that there are things we say and do not say when disclosing the background of our personal relationships.

Kang’s parents moved to 1402 Seok-Dong five years ago, when Kang was already living in New York City. Continents away, Kang finds ways to connect intimately with her family. Family Poems is a series lifted from their recorded daily conversations. River is an installation that includes the family’s heirloom chamber pot and overlapping sound of each of them urinating. Other featured works impart inside jokes and familial nicknames—sharing the punch line without the setup. For 1402 Seok-Dong, the gallery floor will be covered entirely with vinyl flooring, reminiscent of Korean homes as Kang invites us into an intimate space echoing her childhood family memories.

Only few particular and private anecdotes of Kang’s family are shared in 1402 Seok-Dong. Much more is undescribed, leaving an intimate space for viewers to meditate on details and the elusive qualities of relationships.

Born in South Korea, Kyoung eun Kang lives and works in New York City. She received a BFA and MFA in Fine Arts from Hong-ik University in Seoul, South Korea and from Parsons The New School for Design, New York. She has had solo exhibitions at BRIC project room, Brooklyn, NY; Here Arts Center, NY; PRIMETIME, Brooklyn, NY; and at the Contemporary Museum of Hong-ik University, Seoul, South Korea. Her group exhibitions include those at the Socrates Sculpture Park, Queens, NY; Lawrence Wilson Art Gallery, Australia; Museum of Imperial City, China; and National Museum of Contemporary Art, South Korea. She has received awards and fellowships from BRIC, the NARS Foundation, Artist Alliance INC, the Skowhegan School of Painting and Sculpture, Bemis Center for Contemporary Arts, and the New York Foundation for the Arts.

1. Switch, 2013, C-print mounted on Sintra, 8 x 11 inches.
2. Self-portrait_Father, 2011, archival inkjet print on Sintra, 20 x 30 inches.
3. A family bonsai, 2017, diptych, archival inkjet prints, 16 x 24 inches each.
Bibliography Section Article Bibliography Section Catalog Bibliography Section Web Link PDF icon displayed by thumbnail Sold Dot