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Utterances: A Night of Performance Art


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October 14, 2014 | 7:00 pm | 647 Fulton St | Brooklyn, NY | All Ages | FREE!  
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Ut•ter•ance: a spoken word, statement, or vocal sound. Synonyms: remark, comment, word, statement, observation, declaration, pronouncement; the action of saying or expressing something aloud.

BRIC Biennial artists Martha Wilson and Ben Thorp Brown select four stellar Brooklyn performance artists, including Jeanine Oleson, Ethan Philbrick, and Pamela Sneed, for an exploration of utterances on the Stoop.

Jeanine Oleson will be presenting an excerpt of a larger experimental opera that moves paradoxically between language and utterances that are appropriated, excerpted, and at times, original. It highlights people/performers laboring together to make form, the absurd impossibility of late capitalism, aural beauty, and hopefully offers a momentary ground upon which to consider a number of concerns as they’re pushed through bodies, images and objects. The excerpt will be performed by Beth Griffin, Tony Torn, & nyx zierhut with keyboardist/composer Rainy Orteca. (jeanineoleson.com)

Pamela Sneed will perform a selection from her recent collection of poetry. Sneed began her career in the early nineties as a writer at poetry slams and other performance-art venues in New York while teaching at Hetrick-Martin, an organization for gay, lesbian, and transgendered youth. There and elsewhere, Sneed gave voice to the fraction of the city’s population suffering from AIDS, poverty, and bias-related crimes. Sneed has two collections of poetry, Imagine Being More Afraid of Freedom Than Slavery and KONG And Other Works. She is an adjunct associate professor of Speech, Communication and Theater at Long Island University and also a visiting professor in the Core Seminar department, she holds an MFA in New Media Art and Performance. (facebook.com/pages/Pamela-Sneed/116295071303)

Ethan Philbrick will present a work in progress called groupuscule, where five performers listening to a soundtrack on headphones reenact/reconfigure the radical cell, small activist group, splinter organization, and ask what politics sounds, moves, and feels like today. Philbrick describes his performances as feeling like something between a meeting and a party where his experiments in the collective experience incorporate orienting and disorienting devices to highlight our transitional times (call it late capitalism, or neoliberalism, or postcoloniality, or globalization). Philbrick is a trained cellist and a PhD candidate in performance studies at NYU. (ethanphilbrick.com)

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