Copenhagen, Denmark/Madrid, Spain / www.phyllisakinyi.com
Phyllis Akinyi (she/her) is a Danish-Kenyan dance artist and researcher. She works with the ‘betwixt and between’ and hyphenated identities, and has developed a movement hybrid of contemporary folklore, combining diasporan rituals and spirituality, flamenco, and Western contemporary dance.
"G.R.I.E.F. - Great Release of Internal Fears"
G.R.I.E.F. is a durational exploration of exhaustion of self and of sound, where flamenco transforms into trance and the body bursts with emotions.
Dentro de mi pecho
tengo yo un dolor
pa mientras viva, mare, en este mundo
no sosiego yo.
New York City, NY / www.amalyamegerman.com
Through a multidisciplinary approach and a varied language of organic materials, Megerman’s work probes questions around gender, family, intergenerational trauma, complicity, decay, time, anxiety, discomfort, Jewish ritual, and the body. She fashions visual, aural, and aromatic materials into immersive installations and performances, shaping visceral emotional experiences for her audiences.
" Super Cleanse "
A knife can be made kosher by plunging it into hard earth ten times. There is a misconception that other utensils can be made kosher by planting them in soil. Super Cleanse will clean you out better than bleach, and it will not work at all.
Richmond, VA / @dylanlanguell
Dylan Languell (he/him) is a multimedia artist committed to exploring accessible resources primarily in the domestic field, by reimagining through their disposal and subsequent reactivation as a transitional material.
" LOSERs LOVER TRIANGLE "
Letters to a low self estimate (of trust.)
Informed branding helps
Ultra Use of Scent
A Mal Du Pays Expressed as Bacteria
Allegiances is the Price of Failure
Perspicacious to victory
A chase of bleeding spills
(Crave to Fuck)
Los Angeles, CA / www.annabelturrado.com
Annabel Turrado is a Los Angeles based performance installation artist, director and theatre creator. Annabel’s work is inspired by her curiosity of the human condition and her foundation of work is based in contemplative and meditative practice with an emphasis on imagery, symbolism and emotion.
Film & Collaboration: Stefany Turrado
" ¡Ay Ay Ay! "
¡Ay Ay Ay! es una reflexión sobre la comunidad, el amor, el labor, la sobrevivencia, la comodidad, el dolor & la familia en la cultura Latinx; un tributo.
¡Ay Ay Ay! is a musing on Latinx community, love, labor, survival, comfort, pain & family; a tribute.
Seattle, WA / www.jocelynbeausire.com
Jocelyn Beausire is a Seattle-based performance artist, musician, and spatial researcher. Her work functions as temporal architecture, distilling site-specific histories into simple actions, and revealing relational identities present in the space. Through action, she augments perceptions of her body as artifact of her ancestry — as vulnerable, youthful, fertile, female.
" m/other "
Wheat is winnowed, chaff separated from seed by wind. The chaff to earth, wheat to the stomach. It is productive insomuch as it feeds, mothers, clothes. Child sees mother as self, as mother seeing child. The in-between germinates, the abject is put in soil. I always hear hymns in my mother’s voice.
Atlanta, GA / https://amberry03.wixsite.com/portfolio
Alex Mari is an interdisciplinary performance artist from Atlanta. Currently, her works interrupt the status quo through fantastical narrative, duration, becoming-other, ritual, objects and tasks, video, installation and digital ephemera.
" Slow Hunting "
It seems our desires have become a convulsive criss-crossing in search of one another. But what is the meaning of this almost invisible movement? Love… Desire…?
For a community that is as absolutely real as it is absent? Is it something...newer, that attracts the beings by ripping them from their ordinary society? Old organs cast out - the heart, gaze, thought, waste or breath - to stalk emerging desires, new forms of associating and dissociating from a majority technology in which we are
… t r a p p e d. We are here, almost here, and almost always somewhere else.
Coast Salish Territory / @veryfreaky
Saira Barbaric (they. he. she. ze.) is a Black american, gender-blending hedonist creature in a human suit. He/she is a self taught hoodoo worker and a nonstop creator of performance, porno, events and visual art that explore speculative fiction, erotica, Afropsychedlia and modern web aesthetics.
" Growing Green Man "
Welcome to a series of performances that build an altar. This altar praises the pace of plants, the sensuality of imagination, the intimate beauty of each step in a process.
Saira made the physical aspects of this altar from a decade of fabric scraps, six decades of magazine clippings and one year of gathered second-hand goods.
Throughout the performance, you will see a set of masked figures.
They come as openers.
They come as openers.
They come from peace.
Growing Green Man sprouts on both coasts and blooms in 2022. It is one portion of Pantheon, Anew. A pop art study of iconography, assemblage and interactive altar spaces.
Photos of Saira taken by Michael B, Maine, Stephan Anunson, Kat Young, Helen Moga, Justice LaTriece, Blaksyn and Indian Summer Vintage.
Thanks to NEVE, The Living Altar, Jasper Fox and Constance Lee.
The audio is made up of nature recordings sourced from freesound.org, an original piece by BrianIsZe,
an excerpt from a 1990s academic paper, an excerpt from a 1970s Playboy magazine and five original
works by Saira Barbaric.
Bogota, Colombia / www.pedromesa.com
Mesa’s work consists of images, texts, videos and installation examining post-colonial locality as an abstract[ing] site. Through the tracing and abstraction of the Arabic, Mozarabic and Latin-American colonial landscapes and architecture, Mesa’s project works as a metaphor that discuss the complicated movements and translation processes between inherited and displaced cultures.
" An irretrievably impaired mother tongue "
“I sometimes found myself filled with an outrageous hope followed immediately by an excessive depression. The certainty that somewhere, in some lost thread of a site there’s a hyperlink that hides precious words and images, –and that those precious words and images are inaccessible–, seemed to me intolerable.”