Hemispheric New York Events
Hemispheric New York features special programs, such as EMERGENYC (EMERGENYC), lectures, film series, conferences, and performance workshops, some of which are exclusively for members, and some which are open to the public at large. Below are upcoming and recent events.
Conjuring the Archive: An Artist Talk and Conversation with Jess Dobkin
Thursday, April 25, 2019
12:30-2:00 pm
Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003
*Live video broadcast will be available here starting at 12:30 pm (EST).
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In this conversation, Visiting Artist in Residence Jess Dobkin approaches the archive as both site and material to investigate the lifespan and spirit life of performance art. Building on her ongoing research in performance archives around the globe, Dobkin interrogates the relationship between live performance and documentation to explore the dynamic ways that performance can exist before and beyond the live event.
As she works with the Hemispheric Institute to finalize a digital collection of her materials, Dobkin invites us to consider: What happens when boundaries blur and the documentation becomes the performer? What happens when an audience creates an archive, or when an archive becomes a space for performance? How might artists use physical, digital, and energetic archival materials in the creation of new artworks?
Jess Dobkin is an internationally acclaimed artist. Her performance and curatorial projects are presented at museums, galleries, theatres, universities and in public spaces internationally. She was active in the downtown performance art scene in New York City before moving to Toronto in 2002. Recent projects include her 2017 Dora-nominated performance, The Magic Hour, which was developed through The Theatre Centre Residency program with support from the Canada Council, Ontario Arts Council and the Toronto Arts Council. She created The Artist-Run Newsstand (2015-2016), a one-year artist-run newsstand that operated in a vacant subway station newsstand kiosk. Her Lactation Station Breast Milk Bar (2006, 2012, 2016) continues to receive significant scholarly consideration and media attention. Her photographic images, created to accompany her performances, are also published and exhibited as stand-alone works.
About the Hemispheric Institute Digital Video Library (HIDVL)
The Hemispheric Institute Digital Video Library (HIDVL) is the first major digital video library of performance practices in the Americas. Created in partnership with NYU Libraries and with the support of the Andrew W. Mellon Foundation, this growing repository guarantees historical preservation and free, online access to almost 900 hours of video through the Hemispheric Institute website. A trilingual profile (English, Spanish and Portuguese) is created for each collection, contextualizing the videos with detailed production information, synopses, image galleries, texts, interviews, bibliographies, and additional materials. Artists and organizations always retain the copyright to all their videos, as well as the original material, which is returned after digitization. With video documentation spanning nearly five decades, the collections seek to promote dialogue and a deeper understanding of performance and politics in the Americas.
Photo: David Hawe. Image provided courtesy of the artist.
This event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.
Website Launch and Panel Discussion:
Ecologies of Migrant Care: Protecting Migrants, Defending Rights
Thursday, April 4, 2019
6:00-8:00 pm
Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003
*Live video broadcast will be available here starting at 6:00 pm (EST)
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To celebrate the launch of the Ecologies of Migrant Care website, the Hemispheric Institute invites you to a roundtable discussion with leading figures in the movement for migrant justice. Panelists will discuss the immediate challenges facing migrants and immigration activists in this political moment, as well as long-term strategies for building coalitions and strengthening the movement.
Please join us as we hear from activists and scholars working to defend and demand the rights of migrants, and to learn more about the resources available on the EMC platform.
Panel participants include:
Sara Gozalo is the Supervising Coordinator of the New Sanctuary Coalition of New York City, where she has worked since 2016. She coordinates the NSC’s asylum clinic for immigrants without attorneys and the NSC’s accompaniment program, which provides people in danger of deportation with teams of community members to accompany them to hearings before federal immigration authorities. She also helps organize political actions and demonstrations led by the NSC. She has volunteered as an interpreter and in the Dilley Detention Center in Texas, assisting Central American families facing deportation. Sara is originally from Madrid, Spain. She is a queer immigrant and a lifelong advocate for social justice and immigrants’ rights who believes in a world without borders, where everyone has the right to live in dignity.
Aldo Ledón Pereyra is a member of Voces Mesoamericanas and the Transborder Board of Migrations & Gender. His work focuses on the search for missing migrants, the use of forensic procedures for identification, the psychological and social care of victims, and the implementation and monitoring of governmental mechanisms for the legal protection of human and labor rights.
Alexandra Délano Alonso is an Associate Professor and Chair of Global Studies at The New School and the current holder of the Eugene M. Lang Professorship for Excellence in Teaching and Mentoring. She received her doctorate in International Relations from the University of Oxford. Her work focuses on diaspora policies, the transnational relationships between states and migrants, migration in the Central America-Mexico-US corridor, sanctuary, and the politics of memory in relation to borders, violence, and migration.
Jamila Hammami is a queer, non- binary first generation Tunisian Arab American mixed person of color community organizer & social worker from the south, now based in NYC. As a long time organizer, they are a founder and Former Executive Director of the Queer Detainee Empowerment Project (QDEP). In the summer of 2018, they left QDEP to pursue a doctorate of social work, focusing on community organizing, research, and to teach in the social work and community organizing departments at Hunter College.
Pastor Fabian Arias is the pastor of Iglesia de Sion, a Spanish-speaking congregation of Saint Peter’s Church in New York City. A native of Argentina, Pastor Arias moved to the United States in the 1990s. The people of Saint Peter’s Church accompanied Pastor Arias throughout the immigration process. He completed seminary training and was ordained in 2003. He has led Iglesia de Sion ever since.
Diana Taylor, Marcial Godoy-Anativia, Pablo Dominguez Galbraith, Amanda Sommer Lotspike, and Alexei Taylor from the EMC team will be presenting the website.
About Ecologies of Migrant Care
Ecologies of Migrant Care (EMC) is an initiative of the Hemispheric Institute that aims to research, document, and make visible the ongoing humanitarian emergency of refugee migrants from Central America as they cross Mexico towards the United States, and the diverse and widespread responses to this situation by individuals, communities of faith, non-governmental organizations, and social movements across the region.
The EMC website houses nearly 100 interviews with migrants, activists, faith leaders, journalists, academics, and artists working to defend and demand the rights of refugee migrants across the region, in addition to photo galleries, artistic interventions, news updates, and additional resources.
This work is supported by the Henry Luce Foundation. For more, please visit https://migration.hemi.press
This event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.
Dancing While Black: Black Bodies | White Boxes | Publication Launch
Thursday, March 14, 2019
6:00-8:30 pm
Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003
*Live video broadcast will be available here starting at 6:00 pm (EST).
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The Hemispheric Institute and Angela’s Pulse cordially invite you to an evening celebrating the launch of Dancing While Black: Black Bodies | White Boxes. This new digital platform, developed with HemiPress, is dedicated to the voices and visions of Black dance artists. A moderated conversation with contributors will be followed by a reception.
About the Publication
After two years of dreaming, mulling, strategy conversations, and research, Angela's Pulse has finally realized the creation of a digital journal. Made in partnership with the Hemispheric Institute of Performance and Politics and funded by The Surdna Foundation, Dancing While Black: Black Bodies | White Boxes is the collaborative effort of 33 contributors, editors, artists, advisors, and designers. Intentionally keeping Blackness at the center, the Journal explores themes of Black bodies, Black space, and white boxes.
About Dancing While Black
Dancing While Black is an artist-led initiative that supports the diverse work of Black dance artists by cultivating platforms for process, performance, dialogue, and documentation. We bring the voices of Black dance artists from the periphery to the center, providing opportunities to self-determine the languages and lenses that define their work.
About Angela's Pulse
Angela's Pulse creates and produces collaborative performance work dedicated to building community and illuminating bold new stories. Angela’s Pulse provides a home for interdisciplinary collaborations that thrive on both politics and play, and is committed to developing timely performance works that provoke, inform, and inspire. Co-founded by Paloma and Patricia McGregor, Angela’s Pulse was named for their mother Angela—an artist, teacher, and activist who continues to inspire the sisters’ work.
About HemiPress
HemiPress is the Hemispheric Institute’s digital publications imprint, created to house and centralize our diverse publication initiatives. Using a variety of customized open-source digital humanities platforms, HemiPress includes the Gesture short works series, the Duke U.P./HemiPress digital books, stand-alone essays, and the Institute’s peer-reviewed journal emisférica, alongside interviews, Cuadernos, and other online teaching resources. It also provides state-of-the-art multilingual publication capacities and immersive formats for capturing the “live” of performance, as well as a digital “bookshelf”—the interface that houses all of the Institute’s publications and connects communities of readers across the Americas.
Photo: Rashida Bumbray & Adenike Sharpley, Run Mary Run, by Shani Jamila.
“Documenting Performance: Queer Nuyorican Archival Poetics” | Lecture by Karen Jaime
Thursday, March 14, 2019
12:30-2:00 pm
Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003
*Live video broadcast will be available here starting at 12:30 pm (EST).
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In this talk, Karen Jaime interrogates the difficulties faced in attempting to establish an historic archive of performance at the Nuyorican Poets Cafe. Jaime draws on over 20 years of experience as both a scholar and artist who worked and performed at the Cafe since the late 1990s, and as a current member of the Nuyorican Poets Cafe Founders Archive Project. Her work with the Founders Archive Project seeks to trace a lineage beginning with the organic artistic gatherings in Miguel Algarín’s living room to poetry slams in the early 2000s. Fueled primarily by the queer, Nuyorican, and other marginalized voices at the Cafe, these at-risk archives beg the questions: What are the cultural and economic politics enabling the archival process? Who and what deserves to be remembered?
Karen Jaime (Ph.D., Performance Studies, NYU) is Assistant Professor of Performing and Media Arts and Latina/o Studies at Cornell University. A Woodrow Wilson Career Enhancement Junior Faculty Fellow, and Scholar in Residence at the Hemispheric Institute of Performance and Politics at NYU, Karen is also an accomplished spoken word/performance artist. She served as the host/curator for the Friday Night Slam at the world-renowned Nuyorican Poets Cafe, participated in the spoken word documentary Spit!, and was featured in the Emmy-award winning CUNY-TV program Nueva York, a show focusing on the different aspects of Latin@ culture in New York City. Karen’s current monograph, The Queer Loisaida: Perfomance Aesthetics at the Nuyorican Poets Cafe, argues for a reexamination of the Nuyorican Poets Cafe as a historically queer space, both in terms of sexualities and performance practices. She has published in: Women and Performance: A Journal of Feminist Theory, emisférica, Small Axe: A Caribbean Journal of Criticism, and in TSQ: Transgender Studies Quarterly. In addition, her poetry is included in:The Best of Panic! En Vivo From the East Village, Flicker, and Spark: A Queer Anthology of Spoken Word and Poetry, in a special issue of Sinister Wisdom: A Multicultural Lesbian Literary and Art Journal, “Out Latina Lesbians,” and in the anthology Latinas: Struggles and Protest in 21 Century USA.
About the Nuyorican Poets Cafe
Over the last 40 years, the Nuyorican Poets Cafe has served as a home for groundbreaking works of poetry, music, theater and visual arts. A multicultural and multi-arts institution, the Cafe gives voice to a diverse group of rising poets, actors, filmmakers, and musicians. The Cafe champions the use of poetry, jazz, theater, hip-hop, and spoken word as means of social empowerment for minority and underprivileged artists. Our community of spectators, artists, and students is a reflection of New York City’s diverse population; Allen Ginsberg called the Cafe “the most integrated place on the planet.” Founded in 1973, the Nuyorican Poets Cafe began as a living room salon in the East Village apartment of writer and poet Miguel Algarín along with other playwrights, poets, and musicians of color whose work was not accepted by the mainstream academic, entertainment, or publishing industries. By 1975, the performance poetry scene had started to become a vital element of urban Latino and African-American culture, marked by the release of a “Nuyorican Poetry” anthology and Miguel Piñero’s “Short Eyes,” which was a hit on Broadway. By 1981, the overflow of audience and artists led the Cafe to purchase a former tenement building at 236 East 3rd Street, and to expand its activities and programs from the original space on East 6th Street.
About the Hemispheric Institute Digital Video Library (HIDVL)
The Hemispheric Institute Digital Video Library (HIDVL) is the first major digital video library of performance practices in the Americas. Created in partnership with NYU Libraries and with the support of the Andrew W. Mellon Foundation, this growing repository guarantees historical preservation and free, online access to almost 900 hours of video through the Hemispheric Institute website. A trilingual profile (English, Spanish and Portuguese) is created for each collection, contextualizing the videos with detailed production information, synopses, image galleries, texts, interviews, bibliographies, and additional materials. Artists and organizations always retain the copyright to all their videos, as well as the original material, which is returned after digitization. With video documentation spanning from the 1970’s to the present, the collections seek to promote dialogue and a deeper understanding of performance and politics in the Americas.
Photo credits: Mikael 'Mika' Väisänen. Nuyorican Poets Cafe, 1998.
"Poéticas del resto: Imagen, memorias y archivadores en la escena tijuanense" por Alina Peña Iguarán | Lecture
Thursday, March 7, 2019 | Jueves, 7 de marzo de 2019
6:00-8:00 pm
*This talk will be in Spanish. | Esta charla será en español.*
*Live video broadcast will be available here starting at 6:00 pm (EST). | Live stream estará disponible aquí desde las 6pm.*
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Esta charla pretende indagar las prácticas artísticas contemporáneas en Tijuana como figuras escópicas que reconfiguran el paisaje fronterizo a contrapelo de los discursos de la seguridad, que buscan delimitar y escenificar la delincuencia, la amenaza del otro, la basura migrante al sur de la frontera de Estados Unidos. De estas prácticas se desprende la línea analítica que permite pensar el residuo en su clave temporal y no solamente como el desperdicio de la máquina gubernamental en tanto aquello que queda fuera de la producción y deviene basura, desecho. Es decir, aquellos remanentes que persisten al tiempo, pero que han caído en el olvido y son recuperados por el ejercicio de la memoria que al armar otros archivos posibilita distintas narrativas de reconocimiento.
Las recientes apuestas creativas audiovisuales en Tijuana se preguntan por el tiempo y trabajan con imagen, testimonio, mapas, objetos y recorridos como excedentes de sentido, para articular otros sentidos que al repetirse montan una suerte de archivo específico en relación a los rostros del bordo y de una ciudad que está en constante metamorfosis entre el abandono, el despojo y la demolición. Se propone, entonces, la noción de archivo no como un acervo estable, mucho menos canónico, tampoco como un repositorio monumental sino como un modo de relación con el tiempo a partir del trabajo audiovisual. Pero más aún como un ejercicio de crítica de la memoria que implica al arte como trabajo etnográfico anclado en un espacio-palimpsesto que permite generar un extrañamiento para desmontar la gramática espectacular de la frontera. Este ejercicio de indagación pretende pensar la memoria y el archivo como contra-dispositivos metodológicos para la creación de narrativas irruptoras que disputan la producción de significados.
Alina Peña Iguarán es profesora investigadora del Departamento de Estudios Socioculturales del ITESO, Universidad Jesuita de Guadalajara y parte del Sistema Nacional de Investigadores (SNI). Es doctora por la Universidad de Boston en el Departamento de Estudios Hispánicos. El proyecto de tesis del doctorado se enfocó en trabajar la relación entre la escritura autobiográfica en contextos de guerra a partir de la figura del intelectual en la construcción sociocultural del México post-revolucionario. Temas de interés: estética y (bio)política; memoria y subjetividad en contextos de violencia y desaparición. Su investigación actual, “Poéticas de la excedencia: Prácticas audiovisuales en escenarios de frontera,” se enfoca en la noción de frontera y la producción audiovisual artística que la aborda. Su ensayo “Poéticas de la delincuencia: expulsiones y ciudadanías” fue publicado en emisférica en el 2018.
IMAGEN: Alejandro Zacarías, Sentido contrario (2013)
"Pinche Indio" | Artist Talk by Benvenuto Chavajay
Monday, February 25, 2019
6:00-8:00 pm
Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th floor, Room 503
New York, New York 10003
*Live video broadcast will be available here starting at 6:00 pm (EST).*
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In the wake of the insults targeting Roma actress Yalitza Aparicio (Mixtec-Triqui) in Mexican social media following her 2019 Oscar nomination—she was openly referred to as ‘pinche india’—indigenous Guatemalan artist Benvenuto Chavajay (Tz'utujil-Maya) invites us to reflect on the currency of racism in the Americas, and explore the ways in which art, through its power to name and rename, can upend colonial legacies and heal racist wrongs. Chavajay will discuss his work to correct the name given to Guatemala’s National Stadium in the 1960s. The stadium was (mis)named “Mateo Flores” in honor of the Kakchiquel-Guatemalan athlete Doroteo Guamuch Flores, who won the Boston Marathon in 1952 and whose name was changed because it was allegedly too difficult to pronounce. Through a series of public actions, which included tattooing the athlete's national identity card on his back, Chavajay pressured authorities to correct the name of the stadium. In September 2016, Bill #42-2016, proposed by the artist, was enacted into law and the arena’s name officially changed to Estadio Nacional Doroteo Guamuch Flores.
*This talk will be in Spanish with simultaneous English translation.
Benvenuto Chavajay Ixtetela graduated from the Rafael Rodriguez Padilla School of Plastic Arts, in Guatemala and later studied at the National University of Costa Rica and the Superior School of the Arts in Nicaragua. His recent exhibitions include in SITElines 2018: New Perspectives on Art of the Americas, Santa Fe, NM; X Bienal de Centro America, San Jose, Costa Rica (2016); Who Are You, Museo MOlAA, Los Angeles (2016); 10 Mercosul Biennial, Porto Alegre, Brazil (2015); I Bienal del Sur. Pueblos en Resistencia, Caracas (2015), KADIST Foundation, San Francisco (2015), and Indigeneity, Decoloniality and Art, Fredric Jameson Gallery, Duke University, Durham, NC (2015). Among his distinctions are: First prize at the Juannio Latin American Art Auction (2008); the “Promising Talent” award of the Botran Foundation (2002); finalist at HABITART, Contemporary Central American Art (2003), and first prize at the September 15th Central American Competition (2004). His work ranges from performance to sculpture, and explores indigenous identity, decolonial theories, and the reshaping of everyday aspects of community life.
The event is free and open to the public. A photo ID is required to enter NYU buildings and 20 Cooper Square is a wheelchair accessible venue. 
A Connection to Power: On Art, Land, and Food Sovereignty | Panel Discussion
Thursday, February 28, 2019
6:00-8:00 pm
Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th floor, Room 503
New York, New York 10003
*Live video broadcast will be available here starting at 6:00 pm (EST).*
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Peoples and communities have the right to maintain their own spiritual and material relationships to their lands...this implies the full recognition of their laws, traditions, customs, tenure systems, and institutions, and constitutes the recognition of the self-determination and autonomy of peoples. Declaration of the International Forum for Agroecology, Nyéléni, Mali, February 27, 2015
What possibilities in art and community-centered agriculture contribute toward re-establishing dispossessed people’s relationship to land as a means to reclaiming the commons and undoing settler-colonial structures? A Connection to Power: On Art, Land, and Food Sovereignty features artists, activists, and urban farmers discussing movements around indigenous land rights, black liberation, food justice, and art in the midst of climate change.
Organized and moderated by Hemi Artist-in-Residence Alicia Grullón, in association with VoltaCares and the Volta Art Fair, panelists include Sheryll Durrant from the Kelly Street Garden in the South Bronx, artist and activist Marz Saffore from Decolonize This Place, and Indigenous rights activist Monte Stevens Jr. from the Colorado River Indian Tribes. This is an evening framed to consider artistic practices and growing food as acts of self-defense and essential to surviving devastating environmental changes. A reception will follow.
Alicia Grullón, a 2018-2019 Hemi Artist in Residence, directs her interdisciplinary practice towards critiques of the politics of presence, arguing for the inclusion of disenfranchised communities in political and social spheres. She is co-organizer and co-author of the People’s Cultural Plan, a coalition of artists, cultural workers, and activists responding to New York City’s first ever cultural plan in 2017. Her work has been shown at the Bronx Museum of the Arts, El Museo del Barrio, Columbia University’s Wallach Art Gallery, BRIC Arts, Spring/Break Art Show, and Performa 11, among others. Grullón is also a contributing author to Rhetoric, Social Value and the Arts: But How Does it Work?, ed. Nicola Mann and Charlotte Bonham-Carter (Palgrave Macmillan, London). Recent activities include the Shandaken Project inaugural artist residency on Governors Island and the Bronx Museum of the Arts AIM Alum program at 80 White Street. Grullón is an adjunct professor at School of Visual Arts (SVA) and City University of New York (CUNY).
A former marketing executive, Sheryll Durrant is an urban farmer, educator, food justice advocate, and a graduate of Farm School NYC. A 2015 Fellow of the Design Trust for Public Space, Durrant is currently the Garden Manager at Kelly Street Garden, and Farm Coordinator for New Roots Community Farm, managed by International Rescue Committee (IRC) — both in the South Bronx. Named by Food Tank as one of the Leading Food System Thinkers, Durrant’s work has been featured in The New York Times, WNYC, Yes! Magazine, and Ecowatch. Kelly Street Garden was recognized by the United Nations as one of only 3 gardens in North America for the "Feed Your City" initiative in 2017. As director of the urban farm and garden program for Sustainable Flatbush, Durrant developed community based urban agricultural projects in Brooklyn including a medicinal and culinary herb garden as an outdoor classroom on the grounds of The Flatbush Reformed Church, in partnership with Sacred Vibes Apothecary. She has presented workshops and talks at the MET Breuer, Black Farmers & Urban Gardeners Conference, Just Food, and Green Thumb Grow Together Conference.
Marz Saffore is a co-founder and co-facilitator of Decolonize This Place (DTP), an action-oriented movement centering around Indigenous struggle, Black liberation, free Palestine, global wage workers and de-gentrification, and a member of MTL+ Collective. Since 2016, DTP has organized an Indigenous Peoples Day/Anti-Columbus Day tour of the American Museum of Natural History in New York City. Saffore is currently working on a PhD in Media, Culture, and Communication at New York University. She is an adjunct professor in the Department of Art & Art Professions at NYU Steinhardt.
Monte Stevens Jr. is a water protector and proud member of the Colorado River Indian Tribes. Grandchild of Radical American Indian Movement activists, Stevens was raised with future-oriented parents who provided a foundation for their political views around Indigenous people, queerness, settler-colonialism, white supremacy, and academic supremacy. Stevens’ resistance has been through their existence as a femme queer Indigenous individual. Involved in direct actions against the Army Corp of Engineers on the atrocities at Standing Rock, Stevens has extended their activism in New York City to support efforts to build decolonization commissions in NYC museums, and to repatriate stolen artifacts to Indigenous communities. Stevens is currently pursuing social work studies at New York University.
About VOLTA Cares
VOLTA New York is a contemporary art fair comprised of solo projects by leading and emerging international artists. VOLTA Cares was initiated in 2018 as a multitiered social programming outreach by the New York fair to more meaningfully connect with all levels of cultural purveyors, from public school students to patron collectors.
The event is free and open to the public. A photo ID is required to enter NYU buildings and 20 Cooper Square is a wheelchair accessible venue.
The Cabinet of Curiosities: Destruction, Remains, and Performance | Artist Talk
Monday, February 11, 2019
6:00-8:00 pm
*Live video broadcast will be available here starting at 6:00 pm (EST).*
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Why do we insist on perceiving reality and its materiality as definitive, stable, and finished to the detriment of temporary, renewable, and precarious spaces and things? How do destructive strategies and the permanent production of waste affect the artist’s perception and imagination?
Exploring the relations between material precariousness, consumption, and performance, this talk will take us on a journey through urban environments to examine their remains as a Cabinet of Curiosities, finding in them paths to elucidate our ways of inhabiting and representing the world.
Join us for this talk, The Cabinet of Curiosities: Destruction, Remains, and Performance, by Renato Bolelli Rebouças, Hemi Visiting Scholar and Brazilian art director, scenographer, researcher, and performer.
Renato Bolelli Rebouças is a Brazilian art director, scenographer, researcher, and performer based in Sao Paulo. He collaborates with many artists and companies from theatre, dance, performance, visual arts, and cinema in Brazil and abroad, and has been presenting his work in Sao Paulo, Rio de Janeiro, Manchester, Berlin, Prague, Beirut, Antwerp, Lisbon, and Taiwan in partnership with Grupo XIX de Teatro, Marta Soares, Cia. do Latão, Frank Castorf, Bert Neumann, MAPA Teatro, Lowri Evans, among others. He coordinates projects, workshops, and curatorship in scenography expanded, urban intervention, and performance, and teaches at undergraduate and graduate scenography schools in Brazil. Bolelli Rebouças also coordinates transdisciplinary projects at the UAP collective art platform in Sao Paulo’s countryside. He is currently a Ph.D. researcher at the University of Sao Paulo's Laboratory of Performative Practicesand a visiting scholar at Performance Studies/NYU. | www.bolellireboucas.com
This events is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.
Critical Tactics Lab | Panel Discussion |“The Creative Resistance in the Age of Trump”
Thursday, November 15, 2018
6:00-8:00 pm
*Live video broadcast will be available here starting at 6:00 pm (EST).*
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To be politically inactive is to allow tyranny to envelop our country. In this panel discussion, seven members of the all-volunteer media collective The Creative Resistance will discuss the collective's work and its lasting impact on New York City politics. The group, known for their 2017 viral video Lulu Land, makes videos and other content for progressive candidates and was instrumental in the defeat of the corrupt Independent Democratic Conference (IDC), a group of Democratic New York State Senators who handed over control of the Senate to Republicans.
The panel discussion will feature the founders of The Creative Resistance collective, Eric Rockey and Sandi DuBowski; one of the founders of The Yes Men, Jacques Servin; filmmakers Adam Baran and Tracie Holder; producer Liz Manne, and Democratic campaign manager Tarik Coles.
Bios:
Eric Rockey is a documentary filmmaker and co-founder of The Creative Resistance. He co-wrote and co-directed Lulu Land and other CR videos. He directed the award-winning documentary short Pink Boy, which was featured on POV and Vanity Fair.
Sandi DuBowski is the co-founder of The Creative Resistance, director and producer of Trembling Before G-d, producer of A Jihad for Love, and co-producer of Budrus. He is in post-production on Rabbi, a 15-year film about Rabbi Amichai Lau-Lavie, a 21st century spiritual innovator for our skeptical, secular, digital generation who descends from 39 generations of rabbis and founded Lab/Shul, a part-laboratory, part God-optional, artist-driven synagogue. The film is supported by The Sundance Institute Documentary Film Program. He has worked with over 125 documentaries as the Outreach Director of Good Pitch for seven years which connects the world’s best social justice films with new allies and partners.
Jacques Servin (also known as Andy Bichlbaum) is one of the founders of The Yes Men; from 2010-2016 he ran the Yes Lab (now Creative Tactics Lab) at Hemispheric Institute. He is working on two feature films and one Yes Men project, all related to the current political situation, but his actually useful work has been with the collective Creative Resistance, under the rubric of which he co-directed Lulu Land (filmed at Hemi) and has helped write various other videos.
Adam Baran is an award-winning filmmaker, curator, writer, activist, and event promoter based in Brooklyn. His films and music videos- including the award-winning JACKPOT and DIRTY BOOTS- have screened at many LGBT film festivals around the world and won awards. He is the co-curator of the long-running IFC Center series Queer/Art/Film. He has served as program coordinator for Outfest, the most prominent LGBT film festival in the country, and NewFest, its New York-based counterpart. As an activist, he has co-written, directed, and produced several popular campaign ads for various progressive candidates as part of filmmaker activist group The Creative Resistance.
Tracie Holder is a filmmaker, consultant, producer, and film funding specialist. She is a 2016 Sundance Creative Producers Fellow and leads workshops in the U.S. and abroad, tutors and serves on juries at international pitching and training sessions. She was a longtime consultant to Women Make Movies and served on the board of NY Women in Film & Television. Clients include: Firelight Media, European Documentary Network, Active Voice, DOC NYC, Creative Capital, and Unions Docs, among others.
Liz Manne works at the intersection of media and social changes. With a background in entertainment marketing (Fine Line Features, SundanceTV, HBO Films). Today, Liz is a strategist and consultant helping nonprofit organizations and progressive campaigns achieve results and make meaningful change. For the 2018 election cycle, she produced online videos for The Creative Resistance, the Midwest Culture Lab, and the Peoria Project. Lizmanne.com
Tarik Coles was the campaign manager for State Senate candidate Jessica Ramos.
The Critical Tactics Lab (CTL) is the Hemispheric Institute’s permanent forum for discussion and research on the practices and methods of contemporary and historical action. Drawing on the work of the Yes Lab and the Creative Activism Series, as well as the Institute’s ongoing work with political artists and activists from across the Americas, CTL’s mission is to promote and strengthen critical reflection about the tactics and strategies of past and present political movements. Through lectures, workshops, courses, and other modes of assembly, CTL seeks to provide a space in which the expansive affinities of critical practice and action can be made visible and strengthened.
The event is free and open to the public. A photo ID is required to enter NYU buildings and 20 Cooper Square is a wheelchair accessible venue.
Performance | Regina José Galindo: Carguen con sus muertos/Carry Your Dead
Thu 10/25 | Performance | Regina José Galindo: Carguen con sus muertos / Carry Your Dead
Thursday, October 25, 2018
3pm - 5pm
The performance will begin outside of 20 Cooper Square, move on to surrounding streets, and conclude where it began. A reception will follow at the Hemispheric Institute of Performance and Politics at New York University (20 Cooper Square, 5th Fl) from 5:30pm – 6:30pm.
Carry Your Dead
The Hemispheric Institute of Performance and Politics at NYU and ANOTHER SPACE are pleased to announce Carry your Dead (Carguen con sus muertos), a performance by Regina José Galindo (b. Guatemala, 1974). Building on Galindo's earlier explorations of necropolitics and biopolitics, this new performance addresses the Trump administration's immigration policies and the United States' long history of interventions in Latin America.
As Regina José Galindo states: "Provoked by the intervention of the U.S., the war in Guatemala lasted until the end of the 1990s. In 1996, a peace accord was signed, but in Guatemala there has never been any peace. In the 1980s, thousands of Guatemalans migrated to escape the horror of the war. Then came the gangs, the narco-conflicts, and the string of corrupt governments, which have generated a migratory crisis without precedent. In recent years, thousands of unaccompanied children and adolescents have crossed multiple borders in order to reach the US. Thousands more have arrived with their parents and have been cruelly separated at the border, held in prisons and detention centers across the country. U.S. policies have produced too much pain for millions of individuals around the world. There have been too many deaths." With this new work, Galindo’s first street performance in the United States, the artist aims to directly confront viewers with the underside of America’s foreign and migratory policies.
Carry your Dead / Carguen con sus muertos by Regina José Galindo, was commissioned by the ANOTHER SPACE and the Hemispheric Institute of Performance and Politics at NYU in conjunction with the exhibition The Second Sex at ANOTHER SPACE. On view through October 31, 2018, The Second Sex takes its title from Simone de Beauvoir’s influential 1949 treatise and draws from the Daniel and Estrellita B. Brodsky collection to examine the work of Latin American female artists whose contributions are too often overlooked by the Western art historical canon.This exhibition includes a number of historic performances by Ana Mendieta, Lotty Rosenfeld, and Regina José Galindo, which explore notions of memory and the relationship between the body, landscape, and politics.
Regina José Galindo was born in 1974 in Guatemala City, where she currently lives and works. Her performance work explores the ethical implications of social injustice, discrimination related to race, gender, and other abuses that result from the unequal power relations that operate in our society. She has been the subject of solo exhibitions at a number of international institutions, including Frankfurter Kunstverein, Frankfurt; PAC Padiglione d’Arte Contemporanea, Milan; MOLAA Museum of Latin American Art, Long Beach, CA and ARTIUM, Vitoria, Spain. She participated in Documenta 14 in Athens and Kassel in 2017, the Venice Biennale in 2001, 2005, 2009 and 2011, the Sharjah Biennial in 2011 and the Sydney Biennial in 2010. Her works are included in the permanent collections of the Museum of Modern Art, New York; the Centre Pompidou, Paris; Tate Modern, London; the Solomon R. Guggenheim Museum, New York; Castello di Rivoli, Turin; Cisneros Fontanals Collection, Madrid; Daros Collection, Zurich; and the Museum of Contemporary Art, San José, Costa Rica; among others. Galindo has been the recipient of multiple awards and prizes, including the Golden Lion for the best artist under 35 at the Venice Biennale in 2005 and the Prince Claus Award in 2011. http://www.reginajosegalindo.com/
About ANOTHER SPACE
ANOTHER SPACE is a program established by the Daniel and Estrellita B. Brodsky Family Foundation to broaden international awareness and appreciation of art from Latin America. Founded by art historian and collector Estrellita B. Brodsky, as part of the activities of the Daniel and Estrellita B. Brodsky Family Foundation, the program is dedicated to building recognition of modern and contemporary art from the region.
About Hemispheric Institute of Performance and Politics
The Hemispheric Institute connects artists, scholars, and activists from across the Americas and creates new avenues for collaboration and action. Focusing on social justice, we research politically engaged performance and amplify it through gatherings, courses, publications, and archives. Our dynamic multilingual network traverses disciplines and borders and is grounded in the fundamental belief that artistic practice and critical reflection can spark lasting cultural change.
The event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.
Collection and Book Launch, Panel, and Performance|Franklin Furnace: Performance & Politics
Tuesday, October 23, 2018
6:00 pm - 9:30 pm
PRATT INSTITUTE
Film/Video Department
550 Myrtle Ave, Brooklyn
New York 11205
*Live video broadcasting will be available here, beginning at 6:00 pm (EST)*
RSVP on Facebook | To RSVP: Please email Franklin Furnace at mail@franklinfurnace.org with the subject line “Launch Party.”
The Hemispheric Institute of Performance and Politics at NYU and Franklin Furnace Archive, Inc. present Franklin Furnace: Performance & Politics (2018). Co-curated by Martha Wilson and Oraison H. Larmon, this collection of archival materials in the Hemispheric Institute Digital Video Library represents the historical, cultural, and political legacy of Franklin Furnace.
The HIDVL Franklin Furnace Collection includes works by Eleanor Antin, Ron Athey, Horace Brockington, Cassils, Patty Chang, Peter Cramer & Jack Waters, Billy X. Curmano, DANCENOISE, DISBAND, Zackary Drucker & Flawless Sabrina, Bob Flanagan & Sheree Rose, Sherman Fleming & Kristine Stiles, Lawrence Graham-Brown, Guerrilla Girls, Dynasty Handbag, Martha Hellion & Carla Stellweg, Essex Hemphill & Wayson Jones, Holly Hughes, M. Lamar, Ana Mendieta, Tim Miller, Estera Milman, Tracie Morris, Shirin Neshat, Rashaad Newsome, Lorraine O'Grady, Dread Scott, Pamela Sneed, Annie Sprinkle, Amber Hawk Swanson, Julie Tolentino, Diane Torr, Johanna Went, and Martha Wilson, among others.
The program will include brief remarks by Macarena Gómez-Barris, Diana Taylor, Martha Wilson, Marcial Godoy-Anativia, and Oraison H. Larmon; a panel discussion with artists Julie Tolentino, Thomas J. Lax, and Hentyle Yapp; as well as a live performance by DANCENOISE. A reception will follow.
This event is co-sponsored by the Global South Center, the Department of Performance and Performance Studies, and the School of Liberal Arts and Sciences at the Pratt Institute.
Photo courtesy by Oraison H. Larmon, is the cover of the catalog Franklin Furnace: Performance & Politics (HemiPress, 2018).
Program | Franklin Furnace: Performance & Politics
Welcome and Opening Remarks| 6:00–6:10 pm
Macarena Gómez-Barris
The Hemispheric Institute Digital Video Library and the Franklin Furnace Event Archive | 6:10–6:25 pm
Diana Taylor and Martha Wilson
Franklin Furnace: Performance & Politics Collection Overview | 6:25–6:40 pm
Martha Wilson and Oraison H. Larmon
Print and Digital Catalogue Launch | 6:40-6:50
Marcial Godoy-Anativia and Oraison H. Larmon
Panel | 6:50–7:45 pm
Franklin Furnace: Performance & Politics
Julie Tolentino, Thomas Lax, and Hentyle Yapp
Moderated by Oraison H. Larmon.
Performance | 7:45–8:20 pm
The group DANCENOISE will perform a short live performance.
Participant Bios:
Macarena Gómez-Barris is Chairperson of the Department of Social Science and Cultural Studies and Director of the Global South Center at Pratt Institute, a space for critical inquiry that centers experimental modes of thinking, being, and doing. Macarena is author of three books including The Extractive Zone: Social Ecologies and Decolonial Perspectives, that theorizes social life, art, and decolonial praxis through five extractive scenes of ruinous capitalism upon Indigenous territories (Duke University Press, 2017). Macarena’s recently published book Beyond the Pink Tide: Art and Political Undercurrents in the Americas (UC Press 2018), asks us to imagine politics beyond the nation state. She is also author of Where Memory Dwells: Culture and State Violence in Chile (2009), and co-editor with Herman Gray of Towards a Sociology of a Trace (2010).
Diana Taylor is University Professor and Professor of Performance Studies and Spanish at NYU, the 2017 President of the Modern Language Association. She is the author of Theatre of Crisis: Drama and Politics in Latin America (1991), which won the Best Book Award given by New England Council on Latin American Studies and Honorable Mention in the Joe E. Callaway Prize for the Best Book on Drama; ofDisappearing Acts: Spectacles of Gender and Nationalism in Argentina's 'Dirty War', Duke U.P., 1997; and The Archive and the Repertoire: Performing Cultural Memory in the Americas (Duke U.P., 2003), which won the ATHE Research Award in Theatre Practice and Pedagogy and the Modern Language Association Katherine Singer Kovacs Prize for the best book in Latin American and Spanish Literatures and Culture (2004). The Archive and the Repertoire has been translated into Portuguese by Eliana Lourenço de Lima Reis (Belo Horizonte, Brazil: Universidade Federal de Minas Gerais 2012) and Spanish by Anabelle Contreras (Santiago de Chile: Ediciones Universidad Alberto Hurtado, 2015.) She published PERFORMANCE (Buenos Aires: Asuntos Impresos, 2012), a new revised version in English with Duke U.P. 2016; and Acciones de memoria: Performance, historia, y trauma, Peru: Fondo Editorial de la Asamblea Nacional de Rectores (2012). She is co-editor ofEstudios avanzados de Performance (Mexico: Fondo de Cultura Económica, 2011), among others. Taylor is the recipient of the Guggenheim Fellowship in 2005, an ACLS Digital Innovation Fellowship, 2013-14. She is Vice President of the Modern Language Association (MLA) and will be President in 2017. Diana Taylor is founding Director of the Hemispheric Institute of Performance and Politics, funded by the Ford, Mellon, Rockefeller, Rockefeller Brothers and Henry Luce Foundations.
Martha Wilson: is a pioneering gallery director, and feminist artist. In 1976, she founded Franklin Furnace Archive, Inc.—an artist-run space that champions the exploration, promotion, and preservation of artists' books, temporary installation, and performance art. As an artist, Wilson creates innovative photographic and video works that explore her female subjectivity. The New York Times art critic Holland Cotter describes her as one of "the half-dozen most important people for art in downtown Manhattan in the 1970s." Wilson has been granted fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts. She is the recipient of a Bessie Award, Courage Award for the Arts, Obie Award, and Richard Massey Foundation-White Box Arts and Humanities Award. Wilson received an Honorary Doctor of Fine Arts from the Nova Scotia College of Art and Design.
Marcial Godoy-Anativia is a sociocultural anthropologist and Managing Director of the Hemispheric Institute of Performance and Politics at New York University (NYU). He is also Editor of the institute’s digital journal, emisférica. His publications include "Area Studies and the Decade after 9/11" (2016) with Seteney Shami, Religiones, matrimonio igualitario y aborto: Alianzas con y entre actores religiosos por los derechos sexuales y reproductivos en Argentina (2014) with Daniel Jones y Angélica Peña, Rhetorics of Insecurity: Belonging and Violence in the Neoliberal Era (2013) with Zeynep Gambetti, and Ciudades Translocales: Espacios, flujo, representación—Perspectivas desde las Américas (2005), with Rossana Reguillo. From 2000 to 2007 he served on the Science Research Council, providing support to programs on Latin America and the Caribbean and International Collaboration. He is currently a member of the Board of Directors of NACLA, the North American Congress on Latin America.
Oraison H. Larmon specializes in archiving, curating, and researching performance art collections. While working at New York University, Larmon processed archival materials for the Hemispheric Institute of Performance and Politics. They have served as the curator of the two-day event Performing the Archive (2013), the co-curator of the full-scale exhibition Desperate Archives (2014), and the curator of the performance art program for the Radical Archives Conference (2014). Larmon's work addressing the practical, theoretical, and methodological challenges of archiving performance art has been presented at The New School, Pratt Institute, and New York University, among other institutions. Their current research examines how the archival body of performance art enacts a broader historical discourse through its material, corporeal, and digital compositions. Larmon is currently a doctoral student in the Department of Information Studies at the University of California, Los Angeles.
Julie Tolentino is a performance artist, dancer/choreographer, and visual artist. Her art explores the intersections of queer sexual subcultures, Eastern healing practices, and HIV/AIDS cultural activism. Tolentino's solo and collaborative works have been presented at The Kitchen, Invisible Exports, New Museum, Participant Inc., Performa, San Francisco Art Institute, Yerba Buena Center for the Arts, Commonwealth & Council, The Broad Museum, Los Angeles Contemporary Exhibitions, Museum of Contemporary Art Los Angeles, and Wexner Center, among other venues. Tolentino was a founding member of ACT UP New York's House of Color Video Collective and the legendary Clit Club—a nightclub in New York City that promoted safe-sex for multiracial lesbians. She co-wrote the Lesbian AIDS Project's Women's Safer Sex Handbook, co-edited the TDR: The Drama Review's Provocations section, and served as the editor of Guard Your Daughters: Clit Club 1990–2002 (forthcoming). Tolentino works in New York City.
Thomas J. Lax is associate curator of Media and Performance Art at MoMA, where he has organized exhibitions, performances, and publications including Steffani Jemison: Promise Machine, Greater New York 2015, Maria Hassabi: PLASTIC, Projects 102: Neïl Beloufa, and Modern Dance: Ralph Lemon. He worked on a rehang of MoMA’s contemporary collection display across media in 2017, and more recently, an exhibition about the New York-based group of dancers, musicians, and artists who comprised the Judson Dance Theater in the 1960s.
Hentyle Yapp is an artist and assistant professor at New York University in the Department of Art & Public Policy. He is affiliated faculty with the Disability Council, Asian/Pacific/American Institute, and the Department of Performance Studies. His articles have appeared or are forthcoming in GLQ, American Quarterly, Journal of Visual Culture, and Verge: Studies in Global Asias. He is also a member of the Social Text collective. He received his BA from Brown University, JD from UCLA School of Law with specializations in Critical Race Theory and Public Interest Law, and a PhD from UC Berkeley in Performance Studies.
DANCENOISE: is a dance-based performance art group created by Anne Iobst and Lucy Sexton. Since 1983, they have performed throughout New York City nightclubs and theaters including the W.O.W. Café Theatre, Pyramid Club, 8BC, PS122, Franklin Furnace, The Kitchen, and Lincoln Center. The group hosted a weekly cabaret during the 1980s at King Tut's Wah Wah Hut in the East Village. DANCENOISE has performed, taught, and toured at the Phenomenon Festival (Jerusalem), Queer Up North (Manchester), Vienna Fest Wochen (Vienna), Mayfest (Glasgow), New York Live (Osaka), and numerous squatted houses across Europe. The group received a Bessie Award in 1989 for their performance All the Rage at PS122. In 2015, DANCENOISE exhibited a week-long retrospective at the Whitney Museum of American Art in Chelsea.
The event is free and open to the public. The venue is wheelchair accessible.
The Homecoming: Joy. Ritual. Resistance.
*MULTIPLE LOCATIONS*
Saturday, October 13, 2018
12:00 pm- 6:00 pm
Click here for the outdoor performance locations.
The Homecoming: Joy. Ritual. Resistance. is orchestrated by Artist-in-Residence Ebony Noelle Golden and is co-produced by Betty’s Daughter Arts Collaborative and The Hemispheric Institute of Performance and Politics. The Homecoming: Joy. Ritual. Resistance. is a mini-festival that centers public joy rituals, celebration, conversations with artists, thinkers, organizers, and community members. Today’s program features public performances by artists who have been exploring joy as praxis with Ebony since April, an artist talk, and a panel conversation with community artists. #joyritualresistance
Public Performance Art Fellows:
sára abdullah, Babay L. Angles, Marena Faith Blanchard, Treva Ellison, Kolenge Fonge, Rochelle Jamila, Cynthia Renta, Reanna Roane, Jehan Roberson, Clarivel Ruiz, and Mshairi Siyanda.
Join us for performances starting at the Chapel of San Lorenzo Ruiz (378 Broome Street), moving on to the Elizabeth Street Garden (Elizabeth St. between Prince and Spring Sts.), and continuing to the Hemispheric Institute of Performance and Politics for an artist talk with Ebony Noelle Golden on the topic of Dissident Geographies and a final reflection on joy and fugitivity with invited artists.
About Artist in Residence Ebony Noelle Golden:
Propelled by an unflinching pursuit of creative emancipation, cultural wellness, and social justice, Ebony Noelle Golden is an accomplished artist and scholar, and serves as principal engagement strategist at Betty’s Daughter Arts Collaborative.
Ebony stages site-specific rituals + live art performances that profoundly explore the complexities of freedom in the time of now. She lectures on contemporary black feminist, womanist, and experimental theatre of the African Diaspora at The New School and on community-based art practice in the M.F.A. /M.A. program at Pratt Institute. Her current creative work, wash’d// will have a two-night run at BAAD! November 16-17, 2018. The world premiere of Golden’s large-scale public performance project, 125th & FREEdom, premiere at the National Black Theatre, June 2019.
Next year, Betty’s Daughter Arts Collaborative, LLC will celebrate 10 years of service with a year of celebration, creative, and consulting actions geared to amplify our work in the world and our new action plan rooted in influencing and impacting cultural policy in NYC and beyond. www.bettysdaughterarts.com
The event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.
Program | The Homecoming: Joy. Ritual. Resistance.
PERFORMANCE LOCATIONS:
Chapel of San Lorenzo, 378 Broome Street
Elizabeth Street Gardens, Elizabeth St. between Prince and Spring Sts.
Hemispheric Institute, 20 Cooper Square, 5th Floor
12:00 PM | Walang Hiya, May Datating Pa (Shamelessly, there is hope, there is more to come). by Babay L. AngleS
12:20 PM | Welcome: Ebony Golden
12:25 PM | Process to Elizabeth Street Gardens (Mott St. Entrance)
12:35 PM | even in turmoil...i attend by sara abdullah
12:55 PM | Presentation by Rochelle Wilbun
1:15 PM | Process to The Hemispheric Institute, 20 Cooper Square, 5th Floor
1:25 PM | The Amazing Fefa by Cynthia Renta
1:45 PM | Break for Refreshments
2:15 PM | Ebony Interactive Artist Talk and Q&A
3:30 PM | Break
3:40 PM | cotton mouth by Jehan Roberson
4:00 PM | Reverb: Excerpt from an American Fairy Tale by Reanna Roane
4:20 PM | Kaya Continued by Clarivel Ruiz
4:40 PM | let it burn by tourmalines by Treva Ellison
5:00 PM | Final Reflection on Joy and Fugitivity with the Fellows
5:30 PM | Closing Ceremony
6:00 PM | End of Day
Acknowledgements and collaborators:
OluShola A. Cole, Double Edge Theatre, Dragonfly,, Jaime Dzandu, Renee Barabad Floresca, Audrey Hailes, Nina Angela Mercer, and Brian Polite.
CALL | CONVOCATORIA | CONVOCATÓRIA
XI ENCUENTRO 2019
The World Inside Out: Humor, Noise, and Performance
El mundo al revés: Humor, ruido y performance
O mundo às avessas: Humor, ruído e performance
Spanish and Portuguese below / Español y portugués abajo / Espanhol e português abaixo
XI Encuentro
The World Inside Out: Humor, Noise, and Performance
June 9-15, 2019
Mexico City
Deadline for Applications: October 29, 2018
The Hemispheric Institute of Performance and Politics at New York University, in collaboration with the Department of Literature and Theatre of the Faculty of Philosophy and Letters, the University Center for Theatre, the Graduate Program in Art History, the Cátedra Bergman initiative, the Faculty of Political and Social Sciences, and the Contemporary Art University Museum (MUAC) of the National Autonomous University of Mexico (UNAM), along with Ex Teresa Arte Actual, invite scholars, artists, and activists from all disciplines to present proposals around the theme of The World Inside Out: Humor, Noise, and Performance for our 11th Encuentro, to be held in Mexico City from June 9–15, 2019.
In the face of increasing inequality, rising authoritarianism and violence, and ongoing threats to democratic institutions, we seek to forge spaces of critical practice and creative inquiry to theorize and instrumentalize satire, humor, laughter, music, and noise in their broadest senses in order make visible, unfold, denounce, fracture, and revert the assemblages of power behind these alarming processes. As we also celebrate liberatory and democratizing victories big and small, we propose to confront both our collective outrage and out collective hopes by mobilizing art, action, and critique that—through aesthetic inversion, mockery, critical pirouettes, noisy denunciation, and strident celebration—can reveal, disarm, and decolonize and, at the same time, give meaning to our desires for better futures.
Artists, scholars, activists: we invite your provocations, proposals, and irreverent manifestos to participate in work groups, performances, street-art actions, and cabaret. For all work group descriptions, and for details on how to apply, please visit: http://beta.hemisphericinstitute.org/en/enc19-apply.html
Encuentro participation is by application only. You must fill out an online application form, where you will submit all required materials as outlined on our website and within the application form itself. Application deadline is October 29, 2018. All those who are interested in attending the Encuentro as general participants, even without proposing a project, must still apply using this application form and submit a personal Letter of Intent, and Individual Bio, and a CV/Résumé. If you would like to propose a performance, or if you would like to apply to participate in a Work Group, you will be able to submit the required materials for each.
XI Encuentro
El mundo al revés: Humor, ruido y performance
Del 9 al 15 de junio de 2019
Ciudad de México
Fecha límite: 29 de octubre de 2018
El Instituto Hemisférico de Performance y Política de la Universidad de Nueva York, en colaboración con el Colegio de Literatura Dramática y Teatro de la Facultad de Filosofía y Letras, el Centro Universitario de Teatro, el Posgrado en Historia del Arte, la Cátedra Bergman, la Facultad de Ciencias Políticas y Sociales y el Museo Universitario Arte Contemporáneo (MUAC) de la Universidad Nacional Autónoma de México (UNAM), junto con Ex Teresa Arte Actual, invitan a académicxs, artistas y activistas de todas las disciplinas a formular y presentar trabajos en torno al tema El mundo al revés: Humor, ruido y performance, para nuestro XIº Encuentro que se realizará en la Ciudad de México del 9 al 15 de junio del 2019.
Frente a un contexto global de creciente desigualdad social, violencia y fragilidad institucional, buscamos forjar espacios de práctica crítica e investigación creativa con el propósito de teorizar e instrumentalizar la sátira, el humor, la risa, la música, el ruido y la bulla en sus sentidos más amplios para develar, visibilizar, denunciar, desdoblar, fracturar y revertir los ensamblajes de poder detrás de este inquietante panorama. Celebrando también los pequeños y grandes triunfos libertarios y democratizantes de estos tiempos, proponemos enfrentar tanto nuestro espanto como nuestras esperanzas colectivas con el arte, la acción y el pensamiento crítico que —a través de la inversión estética, la burla cabaretera, la pirueta crítica, la denuncia bulliciosa y la alegría sonora— develan, desarman y descolonizan y, a la vez, les otorgan sentido a nuestros anhelos de futuros mejores.
Artistas, académicxs, activistas: invitamos sus provocaciones, propuestas y manifiestos irreverentes para participar en grupos de trabajo, performances, arte-acción de calle y cabaret. Para ver las descripciones de los grupos de trabajo, y para obtener detalles de cómo solicitar, visite: http://beta.hemisphericinstitute.org/es/enc19-apply.html
La participación en el Encuentro se determina a través de un proceso de solicitud. Tendrá que completar una solicitud electrónica y enviar todos los materiales requeridos, como se indica en nuestro sitio web y en el formulario mismo. La fecha límite es el 29 de octubre, 2018. Ojo: Todo el mundo que quiera participar, aun sin proponer proyectos, debe solicitar a través del formulario e incluir una carta de intención, una breve biografía, y un CV/hoja de vida. Si desea proponer una performance, o participar en un grupo de trabajo, podrá incluir sus propuestas en el formulario.
XI Encuentro
O mundo às avessas: Humor, ruído e performance
9 a 15 de junho de 2019
Cidade do México
Prazo: 29 de outubro de 2018
O Instituto Hemisférico de Performance e Política da New York University, em colaboração com o Departamento de Literatura Dramática e Teatro da Faculdade de Filosofia e Letras, o Centro Universitário de Teatro, o Programa de Pós-Graduação em História da Arte, a Cátedra Bergman, a Faculdade de Ciências Políticas e Sociais e o Museo Universitario Arte Contemporáneo (MUAC) da Universidad Nacional Autónoma de México (UNAM), junto com o Ex Teresa Arte Actual, convidam acadêmicxs, artistas e ativistas de todas as disciplinas a formular e apresentar um trabalho sobre o tema do O mundo às avessas: Humor, ruído e performance no nosso XIº Encuentro, a ser realizado na Cidade do México de 9 a 15 de junho de 2019.
Diante de um contexto global de crescente desigualdade social, violência e fragilidade institucional, buscamos forjar espaços de prática crítica e pesquisa criativa com o propósito de teorizar e instrumentalizar a sátira, o humor, o riso, a música, o ruído e a chacota em seus sentidos mais amplos para revelar, visibilizar, denunciar, desdobrar, fraturar e reverter os conjuntos de poder por trás desse panorama inquietante. Celebrando também os pequenos e grandes triunfos libertários e democratizantes destes tempos, propomos enfrentar tanto o nosso espanto quanto as nossas esperanças coletivas com a arte, a ação e o pensamento crítico que – através da inversão estética, da zombaria de cabaré, da pirueta crítica, da denúncia barulhenta e da alegria sonora – revelam, desarmam e descolonizam, ao tempo em que dão sentido aos nossos anseios por futuros melhores.
Artistas, acadêmicxs, ativistas: solicitamos suas provocações, propostas e manifestos irreverentes para participarem de grupos de trabalho, performances, arte-ação de rua e cabaré. Para ver as descrições dos grupos de trabalho e os detalhes do processo de candidatura, visite http://beta.hemisphericinstitute.org/pt/enc19-apply.html
A participação no Encuentro requer inscrição. É necessário preencher um formulário online, no qual você deverá submeter todos os materias requisitados, conforme descrito no nosso website e no formulário. O prazo limite para as inscrições é o dia 29 de outubro de 2018. Todxs xs interessadxs em comparecer ao Encuentro como participantes gerais, mesmo que não tenham intenção de propor um projeto, devem efetuar a sua inscrição utilizando o formulário, e submeter uma Carta de Intenções pessoal, uma Biografia Individual e um Curriculum Vitae. Caso você deseje propor uma performance ou queira candidatar-se a participar de um Grupo de Trabalho, você poderá submeter os materiais requisitados para cada caso.
Deportee Suitcase Solidarity Action | Thu 7/26 @ 5:30 pm | #WhatWouldYouPack
Thursday, July 26, 2018
5:30 pm
26 Federal Plaza
New York City
Click here for video.
Click here for the Facebook event.
#WhatWouldYouPack
#bringasuitcase
A SUITCASE
The deportation machine has many layers. We invite you to join us in an action that will bring to light one such layer—invisible to many—that profoundly marks the lives of our friends, our neighbors.
When Immigration and Customs Enforcement (ICE) orders our Friends deported, their loved ones can pack one 25 lb suitcase for them. Each day, people in our communities must pack such a suitcase and submit it to ICE for inspection. When they drop off these suitcases with ICE, they cannot see their loved one to say goodbye.
Some of our friends and neighbors are deported to countries they left as children, where they know no one and may not speak the language. It may be a place with little opportunity, where their sexuality is criminalized, where there is war or drought. They often face grave danger.
We are asking you to think about one person—someone you love—and imagine packing their suitcase before they were deported to a country where you might never see them again. The suitcase is everything your loved one will leave with; the suitcase contains the belongings they will start over with. We invite you to think about this choice: what objects, what pieces of clothing, what photos, what books, what letters what would you pack?
Members of our communities, our neighbors, have to make these choices every day. They have to think in these terms. They have to pack one suitcase for their loved ones.
On July 26th, at 5:30 PM, we will gather at 26 Federal Plaza in New York City to honor those who have been deported and their loved ones—and to make visible this form of invisible violence.
We ask that you bring ONE (1) OBJECT YOU WOULD PACK in your love’s suitcase to 26 Federal Plaza, as we shed a light onto the deportation machine that continues to cause violence, and suffering on our communities.
The New Sanctuary Coalition of New York City, Reverend Billy And The Stop Shopping Choir, NYU Sanctuary, Caribbean Equality Project, the Hemispheric Institute of Performance and Politics, and other organizations invite artists and volunteers to contribute their art, music, media, and other creative interventions.
Please share this email with friends, colleagues, and networks.
#WhatWouldYouPack
If you are interested in helping and participating, please email sara@newsanctuarynyc.org and bringasuitcase@gmail.com.
Hemi July Events | Cuerpxs Radicales: Radical Bodies in Performance | Brooklyn Museum
Thursdays:
July 5, July 12, and July 19, 2018
Brooklyn Museum
200 Eastern Pkwy
Brooklyn, NY 11238
Introducing new and recent work by contemporary Latinx artists as they respond to themes in the Brooklyn Museum's exhibition Radical Women: Latin American Art, 1960–1985. In conjunction with the exhibition, the Brooklyn Museum in collaboration with the NYUHemispheric Institute of Performance and Politics, invites a selected group of artists to present a three-day performance series.
Join us for Cuerpxs Radicales: Radical Bodies in Performance (taking place July 5, 12, and 19), that will showcase female-identified and gender-nonconforming Latinx artists in the greater NYC area who are exploding rigid notions of femininity. Featuring performance, visual art, literature, music, and everything in between, the series centers a younger generation engaging with our current political and cultural landscape.
*This series contains mature subject matter, including nudity and strong language.*
July 5:
7–8 pm Ela Troyano and Alina Troyano
8–8:30 pm Awilda Rodríguez Lora
8–9 pm Sonia Guiñansaca (Hemi 2018 Artist in Residence)
9–9:30 STEFA*
July 12:
6–9:30 pm Arantxa Araujo
6:30–9:30 pm Francheska Alcántara
7–7:30 pm Ray Ferreira
8:30–9:10 pm Jennif(f)er Tamayo
July 19:
7–8 pm Marsha Parrilla
8–8:30 pm Joiri Minaya
7:30–9:30 pm Alicia Grullón (Hemi 2018 Artist in Residence)
8:30–9:30 pm Linda LaBeija
The performance series is free with the museum’s (pay-what-you-can) general admission.
Women, Race and Dignity: This Ain’t A Eulogy | Screening & Discussion
Thursday, June 21, 2018
6:00-8:00 pm
Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor
New York, NY 10003
Click here for the Facebook event
*Live video broadcasting will be available here, beginning at 6:00 pm (EST)*
While the global community addresses such issues as health security, peacekeeping, and nonproliferation of weapons of mass destruction, the voices of women of color are largely excluded. Ambassador Bonnie Jenkins founded Women of Color Advancing Peace, Security and Conflict Transformation (WCAPS) in 2017 to advance leadership and professional development of women of color in international peace and security. WCAPS created the forum “Peace, Security, and Art” to promote engagement between women of color artists whose work encompass these themes and women of color interested in and working in the policy field.
Join us for the WCAPS Art Forum’s inaugural event, a screening of Taja Lindley’s short film This Ain’t A Eulogy: A Ritual for Re-Membering. The screening will be followed by a discussion between Lindley and Ambassador Bonnie Jenkins on the intersections of women, race, and dignity in our society through the lens of art and policy.
Taja Lindley (Hemi EMERGENYC alumna, 2014) is an artist, activist, writer, and healer, based in Brooklyn. Lindley holds a BA from NYU’s Gallatin School of Individualized Study. She uses movement, text, installation, ritual, burlesque, and multimedia to create immersive works that are concerned with freedom, healing, and pleasure. In addition to being an artist, Lindley is actively engaged in social movements as a writer, consultant, and facilitator. She is the founder of Colored Girls Hustle and a member of Echoing Ida and Harriet's Apothecary. Her work has been featured at the Brooklyn Museum, Hammer Museum, New York Live Arts, the Movement Research at Judson Church series, Brooklyn Arts Exchange (BAX). She is currently developing a body of work recycling and repurposing discarded materials. |tajalindley.com.
Ambassador Bonnie Jenkins is the Founder and President of Women of Color Advancing Peace, Security and Conflict Transformation (WCAPS) and a Nonresident Senior Fellow at the Brookings Institution in Washington, DC. Jenkins was nominated by President Obama and confirmed by the U.S. Senate in 2009 as Special Envoy and Coordinator for Threat Reduction Programs in the Bureau of International Security and Nonproliferation, U.S. Department of State (DOS). She served in that position until January 2017. Jenkins was the DOS lead for the 2010–2016 Nuclear Security Summits and the U.S. Representative to the G7 Global Partnership Against the Spread of Weapons and Materials of Mass Destruction. She led diplomatic efforts promoting the Global Health Security Agenda (GHSA), helped establish the GHSA NGO Consortium, and founded the GHSA Next Generation Network. | wcaps.org.
Me Quedo: A Reading of #PapiFemme & #NostalgiaAndBorders
Thursday, June 14, 2018
6:00-8:00 pm
Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor
New York, NY 10003
*Live video broadcasting will be available here, beginning at 6:00 pm (EST)*
"Go back" they say, ¡pero me quedo! Hemi 2017-18 Artist in Residence Sonia Guiñansaca, a migrant queer poet, performs from her first chapbook #NostalgiaAndBorders and from the upcoming sequel #PapiFemme. Like a requiem, these poems are a remembrance of old "homes" and of those we had to leave behind in the process of migration. Guiñansaca will weave together sacred experiences and memories from Ecuador with newer narratives as a queer, gender non-conforming Latinx growing up in NYC. “Me quedo in the homes I am building, me quedo in the memories nearly forgotten, me quedo in the kisses that linger still, me quedo aquí.”
Join us for this event, which will feature readings by Giselle Buchanan and Kay Ulanday Barrett, performances by Alan Pelaez, and art by Rommy Torrico. Q&A and reception will follow performance.
Sonia Guiñansaca (Hemi 2017-2018 Artist in Residence) is an internationally acclaimed queer migrant poet, cultural organizer and activist from Harlem by way of Ecuador. A VONA/Voices and BOOAT Alumni, Sonia has performed at The Met, El Museo del Barrio, The Nuyorican Poets Cafe, Lehmann Maupin Gallery, Galería de La Raza, and has been featured on NBC, PBS, Latina Magazine, Pen America, the Poetry Foundation, and UK’s Diva Magazine, to name a few. They were named as 1 of “10 Up and Coming Latinx Poets You Need to Know” by Remezcla, 1 of 13 “Coolest Queers on the Internet” by Teen Vogue, and 1 of 3 U.S.A. Future Leaders Delegates for the British Council. Sonia—who is currently the Managing Director at CultureStrike—has co-founded and helped build some of the largest undocumented organizations and artistic projects in the country, and has emerged as a national leader in the undocumented/migrant artistic and political communities. Follow their work on Twitter/IG: @thesoniag or SoniaGuinansaca.com.
Rommy Torrico is a queer, undocumented artivist, born in Iquique, Chile, raised in Naples, Florida, and has recently moved to NY/NJ. Rommy has been involved in the (im)migrant rights struggle for several years and infuses much of their work with personal experience and the stories their community shares. Their work has been exhibited in California, Washington DC, and NYC. You can find more about them on RommyTorrico.com and follow them on IG: @Rommyyy123.
Alan Pelaez Lopez is an Afro-Indigenous poet, collage, installation, and adornment artist from Oaxaca, México. In their visual and literary work, they explore the intersections of PTSD, undocumented immigration, Indigeneity, queer feelings, and Black flesh. They are a 2018 Pushcart Prize nominee, named one of “10 Up and Coming Latinx Poets You Need to Know” by Remezcla and one of “10 Poets for the Revolution,” in Best American Poetry Blog.Their essays, poetry and political analysis have appeared in Black Girl Dangerous, Fusion Magazine, The Feminist Wire, Colorlines, and more. Follow them on their website at alanpelaez.com and as @migrantscribble on all social media.
Giselle Buchanan is a poet, multidisciplinary artist and writer from the Bronx, NY. Despite the use of many mediums, her work is united under the umbrella of healing. She believes beauty is restorative and that art can act as a therapeutic agent. As an artist deeply involved in her community, she has worked extensively with women, incarcerated men on Rikers Island, and children in East Harlem, the Bronx, and Brooklyn. Additionally, she has worked for various organizations, including the Bronx Museum, Harlem Textile Works and New York Writers Coalition, facilitating workshops and assisting in programs designed to empower the creative and intellectual spirits of students from often underserved communities. She has performed in many places, from bookstores to ballrooms, like Hammerstein Ballroom, the Apollo Theater, the Chicago Theater, Housing Works Bookstore, Bluestockings, and more. She has published writings in Hanging Loose and poems have been featured on media outlets like MSG Network and Nickelodeon. She currently resides in Brooklyn, NY. See their work at gisellebuchanan.com.
Kay Ulanday Barrett is a poet, performer, and educator, navigating life as a disabled pilipinx-amerikan transgender queer in the U.S. with struggle, resistance, and laughter. Ulanday has been invited to The White House, Princeton University, UC Berkeley, The Lincoln Center, Queens Museum, and The Chicago Historical Society to name a few. They are a fellow of both The Home School and Drunken Boat. Their contributions are found in PBS News Hour Poetry, Poor Magazine, Trans Bodies/Trans Selves, Windy City Queer: Dispatches from the Third Coast, Make/Shift, Third Woman Press, The Advocate, and Bitch, and the upcoming anthologies, Outside the XY: Queer Black & Brown Masculinity and Writing the Walls Down: A Convergence of LGBTQ Voices. See their work at kaybarrett.net.
NOTE ON ACCESSIBILITY
*The space is wheelchair accessible. No stairs. Direct elevator from ground floor to 5th floor.
*We strongly encourage all participants of the space/event to be scent-free.
La Lotería de la Migración and the Visual Languages of Advocacy Exhibition Opening and Panel Discussion
Thursday, April 19, 2018
7:00-9:00 pm
Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003
How do visual and textual languages speak to each other—and to us—about complex personal and political experience?
Richard Arthur Fleming’s Lotería de la Migración reimagines the traditional Mexican Lottery card game and its striking iconography as emblems of the logistical and legal obstacles to Central American and Mexican migration to the United States. Lotería serves as an occasion for this expanded discussion about intricate relationships between image, text, culture, and the politics of migration. The exhibition is on view from April 19, 2018 through May 31, 2018.
The panel features panelists Alexandra Délano Alonso (Associate Professor and Chair of Global Studies, The New School), Richard Arthur Fleming (artist, writer, and documentarian), and Catherine Taylor (Co-Director, Image Text Ithaca MFA and ITI Press), and will be co-moderated by Marcial Godoy-Anativia (Managing Director, NYU Hemispheric Institute of Performance and Politics) and Suzanne Maria Menghraj (Chair, Contemporary Culture and Creative Production, NYU Global Liberal Studies).
Alexandra Délano Alonso is Associate Professor and Chair of Global Studies at the New School. Her research focuses on diaspora policies, the transnational relationships between states and migrants, and the politics of memory in relation to undocumented migration. She is the author of From Here and There: Diaspora Policies, Integration and Social Rights Beyond Borders (Oxford University Press, 2018).
Richard Arthur Fleming is a writer, artist, and documentarian excited and inspired by the subcultures and vernacular of the global south. He is the author of Walking to Guantanamo, a travelogue about crossing the length of Cuba at the dawn of the millennium. His multi-panel exhibition Lotería de la Migración is the focus of this event.
Catherine Taylor (Ph.D. Duke University) is a writer and editor who works on a wide range of nonfiction forms—from documentary and literary journalism to lyric essays and hybrid-genre writing. She is the author of You, Me, and the Violence; Apart; and Giving Birth. She is Co-Director of the Image Text Ithaca MFA program and ITI Press.
Presented by NYU’s Global Liberal Studies and Hemispheric Institute of Performance and Politics, in association with the Institute for Public Knowledge and Colloquium for Unpopular Culture.
I Want A Better Catastrophe Andrew Boyd’s Gallows Humor
Thursday, April 19, 2018
6:00-8:00 pm
I Want A Better Catastrophe Andrew Boyd’s Gallows Humor
Bumming out about climate apocalypse? The 6th Great Extinction getting you down? Join Andrew Boyd for a “hopelessness workshop.” Thrown into a crisis of hope, this life-long activist set off on a quest to find out how leading thinkers and your grandmother are grappling with the “impossible news” of our climate doom. He’s returned with an unfinished manuscript and a broadside of gallows-humor life-advice — as well as a few surprisingly emotional flowcharts — about how to live on the cusp of catastrophe, including: ”The apocalypse is a terrible thing to waste,” ”Hopelessness can save the world,” and “Don’t worry, we’re not heading off a cliff, just a sharp slippery slope.” Together, we’ll step through the 5 stages of climate grief, gamely game-out our existential options, and ask aloud several taboo questions, including: “Why the fuck am I recycling?” If you’ve ever wanted to tell someone else how to write their own book, now’s your chance. You’ll laugh, you’ll cry, you’ll tell him which subtitle he should use. Maybe another end of the world is possible?
We invite you to attend the reading of Andrew Boyd’s manuscript and share your feedback.
Andrew Boyd is an author, humorist and long-time veteran of creative campaigns for social change. He led the decade-long satirical media campaign “Billionaires for Bush,” founded the art-activist toolbox and laboratory Beautiful Trouble, and co-created the grief-storytelling ritual The Climate Ribbon. He's the author of several books, including Daily Afflictions and Life’s Little Deconstruction Book. In his current work-in-progress,I Want a Better Catastrophe, he explores the emotional and ethical dimensions of our climate predicament. Unable to come up with his own lifelong ambition, he’s been cribbing from Milan Kundera: “to unite the utmost seriousness of question with the utmost lightness of form.” You can find him at andrewboyd.com.
This event is co-sponsored by NYU's Department of Art and Public Policy.
Symposium
Transnational Sanctuary: Ecologies of Migrant Care and the Politics of Solidarity
Thrusday, April 12 and
Friday, April 13, 2018
Hemispheric Institute of Performance and Politics, NYU and the Working Group on Expanding Sanctuary, The New School
Transnational Sanctuary is a two-day event that convenes activists, scholars, faith leaders, and grassroots organizations to examine sanctuary as a transnational practice, an ideal, a theory, an historical proposition, a call to civil disobedience, and a vision of social justice for the present.
What does sanctuary mean and how is it practiced in the United States and beyond? How are practices of migrant care, advocacy, and solidarity framed in relation to the concept of sanctuary? Aside from sanctuary, what other vocabularies, strategies and practices are being used? How can both the idea and the practice of sanctuary complement the work of activists responding to the violence of expulsion, the dangers faced in transit, and the brutality of detention and deportation? How do shelters, churches, activists, and organizations cooperate across borders? Is a transnational politics of sanctuary possible? What can other movements learn from sanctuary movements, both historical and contemporary? As activists on the ground grapple with these questions, Transnational Sanctuary is an invitation to students, activists, scholars, and the broader public to reflect, imagine, and strategize.
Participants include:
Rev. John Fife (Southside Presbyterian Church, Tucson), Amparo Marroquín (Universidad Centroamericana, El Salvador), Dr. Rev. Renee McKenzie (The Church of the Advocate, Philadelphia), Juan Carlos Ruiz (New Sanctuary Coalition of NYC), Jill Anderson (Otros Dreams en Acción), Marco Castillo (Asamblea Popular de Familias Migrantes), Azza Falfoul (Watch The Med Alarmphone, Tunisia), Father Ismael Moreno, SJ (Radio Progreso, Honduras), Byron Cruz (Sanctuary Health, Vancouver), Reverend Billy and Savitri D (The Church of Stop Shopping), Alyshia Galvez (Lehman College), Maggie Loredo (Otros Dreams en Acción), Diana Taylor (New York University), Marta Pérez (Yo Sí Sanidad Universal; and Universidad Complutense de Madrid), Ángelo Cabrera (MASA), Marcial Godoy-Anativia (Hemispheric Institute), Alexandra Délano Alonso (The New School), Abou Farman (The New School), Anne McNevin (The New School), Miriam Ticktin (The New School), Pablo Domínguez (Princeton University), Loren Landau (University of the Witwatersrand, South Africa), Sheila Quintana (Independent activist, Philadelphia), among others.
Simultaneous interpretation in Spanish and English will be provided.
Schedule of events:
Thursday, April 12
09:30 am-4:30 pm: Presentations and dialogues
*Live video broadcast will be available here.*
Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003
9:30-10:00 am Breakfast
10:00-10:15 am Welcome and Introductions
Diana Taylor (Hemispheric Institute) and Abou Farman (The New School)
10:15-11:30 am Sanctuary and the Politics of Solidarity
What practices are associated with Sanctuary and solidarity with migrants across different communities and regions?
Marco Castillo (Asamblea Popular de Familias Migrantes), Azza Falfoul (Watch The Med Alarmphone, Tunisia), Ismael Moreno, SJ (Radio Progreso, Honduras), Moderator: Anne McNevin (The New School)
11:45 -1:00 pm Sanctuary, Religious Actors, and Communities of Faith
What is the specific role of religious communities in Sanctuary? How to they they engage with broader social and political movements?
Juan Carlos Ruiz (New Sanctuary Coalition), Dr. Rev. Renee McKenzie (The Church of the Advocate), John Fife (Southside Presbyterian Church, Tucson), Moderator: Marcial Godoy-Anativia (Hemispheric Institute)
1:00 - 2:00 pm Lunch
2:15 - 3:30 pm Sanctuary and Practices of Care
What role do sanctuary and migrant care practices play in different moments of the migration process--arrival, transit, reception, detention, deportation—in different regions?
Marta Pérez (Yo Sí Sanidad Universal, Madrid), Byron Cruz (Sanctuary Health, Vancouver), and Maggie Loredo (Otros Dreams en Acción, Mexico City), Moderator: Miriam Ticktin (The New School)
3:30-4:00 pm Presentation of Ecologies of Migrant Care Initiative, Hemispheric Institute
Diana Taylor, Marcial Godoy-Anativia, Pablo Domínguez, Alexei Taylor
4:15 - 4:30 pm Reverend Billy and Savitri D (The Church of Stop Shopping)
5:00-5:45 pm: Weekly ICE Detention Center Vigil with the New Sanctuary Coalition
Varick Street Processing Center
201 Varick Street
New York, NY 10014
6:30-8:30 pm: Keynote panel
The New School
John L. Tishman Auditorium, University Center
63 Fifth Avenue, Room U100
New York, NY 10003
Jill Anderson (Otros Dreams en Acción, Mexico City)
John Fife (Southside Presbyterian Church, Tucson)
Amparo Marroquín (Universidad Centroamericana,San Salvador)
Juan Carlos Ruiz (New Sanctuary Coalition, NYC)
Moderators: Marcial Godoy-Anativia (Hemispheric Institute) & Alexandra Délano Alonso (The New School)
Friday, April 13
10:00 am-4:00 pm: Workshops and longtable discussion
The New School
Klein Conference Room (510)
New York, NY 10011
Organized by the Hemispheric Institute of Performance and Politics at NYU and the Zolberg Institute Working Group on Expanding Sanctuary at The New School, with support from The Henry Luce Foundation, the Open Society Foundation, and the Andrew W. Mellon Foundation.
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