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Ornate organs of oscillating origins : a night of dance, improv & performance

Tuesday, March 1st 2016

there will be a large ensemble featuring :
jack wright
http://www.springgardenmusic.com/jackbio.html
zach darrup
https://soundcloud.com/yankanin
evan lipson
https://www.youtube.com/watch?v=L4ZOE24ryoo
ben bennett
https://milmin.bandcamp.com/
jim strong
http://jimstrongart.blogspot.com/
http://jimstrong.bandcamp.com/

there will be spells spilling out of jill burton's throat
http://www.jillburton.net/index.html

there will be drones/sorcery by david first
http://www.davidfirst.com/

there will be a performance by brandon fisette
https://www.facebook.com/brandon.fisette

http://www.thesupercoda.com/

PERFORMANCY FORUM: Bushwick Open Studios Edition

Friday, May 30th 2014

What does it mean for work to be "open" or "closed"? How do we consider or not consider our audiences? Old and new artists of PPL project space converge to present current works-in-performance.

Ivy Castellanos

Baxton Alexander

Ben Bennett

Abigail Levine

Honey McMoney

durational performances and short-form alike fill this evening at this breezy garage open to the street…suggested

$5-15 goes directly to the artists.

beverages lovingly provided by Brooklyn Brewery

Ben Bennett (Columbus), David Grollman - Performance Music

Monday, September 16th 2013

Ben Bennett (Columbus) http://www.tinymixtapes.com/music-review/ben-bennett-spoilage

David Grollman http://www.opensound.org/opensoundbios/davidgrollman.html

We are very pleased to Welcome Ben Bennett, visiting from Columbus, Ohio. David Grollman will also perform.

OPEN NOISEMAKING SESSION TO FOLLOW - explore your inner floor scraper, byo spatula, show us what you've got, kittens.

The handheld clips shot at Ben Bennett’s live shows depict a man unquestionably depraved. A victim of his own creative vision, the Ohio-based artist is portrayed scraping chairs across the floor with bare feet, stripping down to his underwear with a cardboard tube pressed to his lips, squirming on the ground with a metal cylinder between his legs and rasping through some makeshift horn. All of this is realized while exploiting an unsystematic array of tools that formulate a repertoire propelling persistent noise against an etching metallic quiet, which is captivating for two reasons: firstly because it throws up difficult questions concerning the value of the work at stake; and secondly because the artist is uncontrollably absorbed by his own freakish conduct. Throughout each performance, Bennett appears to be in a magnificent trance. He doesn’t know what is going to happen next and neither does his perplexed audience; he has to feel his way around whatever potential the objects around him inspire.

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