You are here

UMBER MAJEED
"Atomi Damaaki Wali Mohabbat (The Atomically Explosive Love)"

MARIELLE PELISSERO

HONEY JERNQUIST

How are political conditions, social patterns, and cultural positions imagined through popular, dominant, and/or "mainstream" lenses? What do you mean when u say "general population" or "popular opinion"? Often, one identifies "dominant" ways of seeing as negative, coercive, and oppressive and positions "our own" views as resistances to these. How are ways of imagining devised, used, and themselves imagined as alternative, alternate, alternating? Mediation strategies, both those designed to hold "popular appeal" and those designed to infiltrate, penetrate, subvert, situationally parse and mnemonically re-imagine viewpoints are discussed, demonstrated, and discursively derived through ***performance*** +++animation+++ %%%lecture%%% and ###socialgathering###

Suggested donation $5-20 (pay-what-you-can to pay the artists) cash only at the door, beverages available or BYO, come+go as u please, e-mail panoplylab@gmail.com to request access info or with any other inquiries.

+++MORE INFO+++

UMBER MAJEED
Atomi Damaaki Wali Mohabbat (The Atomically Explosive Love)
2017, Lecture Performance, 00:30:00
Performed by Umber Majeed
Animation: Umber Majeed
3D Model edits : Nancy Naser Al Deen
Background Vocals Audio: Nader Tabri and Sarag Gabouyd Pailian

Umber Majeed is a multidisciplinary visual artist. She completed her MFA from Parsons the New School for Design in 2016, and graduated from Beaconhouse National University in Lahore,
Pakistan in 2013. Majeed has shown in venues across Pakistan, North America and Europe. Recent group exhibitions include; ‘The Divided Self’, The Slought Foundation, Philadelphia
(2012), ‘The Museum: Within and Without’, The State Hermitage Museum, St.Petersburg, Russia (2015), ‘welcome to what we took from is the state’, Queens Museum, New York (2016),
and ‘Promises to Keep’, apexart, New York (2017). Her work has been acquired by several private collections, including the Lekha and Anupam Poddar Collection at the Devi Art Foundation in Gurgaon, India. In July 2017, she completed the HWP fellowship at Ashkal Alwan in Beirut, Lebanon. www.umbermajeed.com

MARIELLE PELISSERO
The Segal Center, CUNY, Research Engineer
Paris-­‐Nanterre University, France
Research: The Presence and the influence of the main concepts of the Situationist International in the critical literacy about performance art and experimental theater in New York City

HONEY JERNQUIST
http://www.honeymcmoney.com/

NINE (9) PROPOSITIONS in-form operations in and around PPL's lab site in 2018. These NINE(9) PROPOSITIONS propose Performance Modes, stated as intentions to realize/materialize/actualize “performance(s).”

These PROPOSITIONS magnetize temporary, relational collectives of performance makers to research and potentially realize performance(s) through NINE (9) THINKTANKS throughout 2018. THINKTANK activities are specific to each of the PROPOSITIONS and designed by the persons involved.

The NINE (9) PROPOSITIONS can be viewed below.

PROJECT TIMELINE/OUTLINE

1.) performance makers and researchers are invited to sign up by sending an email to panoplylab@gmail.com with the subject line THINKTANK by February 1, 2018. Please SPECIFY which PROPOSITION supports your intended performance practices in 2018. Expressing this interest does not commit people to participate in the THINKTANKS emergent from each PROPOSITION. If you put your email on one of the PROPOSITION signs at The Kitchen on Nov. 29* you are already signed up.

2.) AFTER February 1, 2018 you will receive a group email based on which PROPOSITION you specified. These group emails officially initiate the NINE(9) THINKTANKS.

3.) Meetings with/as each THINKTANKS may be scheduled throughout 2018 at Panoply Performance Laboratory (PPL) in Brooklyn, NY. All subsequent THINKTANK operations will emerge from meetings, emails, and other THINKTANK-specific interactions. Forms of activities, projects, collaborations, and any public engagement processes such as exhibitions, publications, symposia or events will be determined collectively and relationally by each THINKTANK (in collaboration with project initiator and PPL organizer Esther Neff).

4.) THINKTANKS will operate starting in February and conclude in November and December, 2018. Beyond the initial PROPOSITIONS and this 4-part organizational score, all structures and situations will be generated in situ by each THINKTANK. Thus, no “product” or presentation/performance is required, though THINKTANKS may share their processes and performances with publics through scheduled events throughout the year at Panoply Performance Laboratory and affiliated sites/venues/spaces.

In-person participation in initial meetings in as well as active written involvement in THINKTANK formation materializes this project.

Please Note: This is not primarily an opportunity to show work, to be “presented.” THINKTANKS are mutually-supportive, co-constructive temporary collectives, performed as intellectual locations for rigorous intra-social consideration of ethics, modes, methods, relations, and processes. While some performance projects (individual and collaborative) may be performed for/with publics throughout the year, THINKTANKS are predominately auxiliary support for/with/as of process and discursive intentions, plans, reason(ing)s, and social investigation of modes of performance.

>>>>>>>NINE (9) PROPOSITIONS<<<<<<<

….REALIZED SOLELY BY PERSONS PRESENT DURING/AS “THE” PERFORMANCE

Potential Forms of Performance: Happening, social dance, conversation, reflexive gathering, authorship negotiation, collaborative process, social practices, situational activity…
Probable problems: who is present and why? Access, involvement, participation, politics of representation and presence, relational aesthetics and forms, forms of instruction, interpretation, scoring, collective-formation, institution as a verb, improvisation, and inscription… 

…EFFECTIVELY FUNCTIONING “OUTSIDE” “ART” &/OR EXTRANEOUSLY TO “ARTISTIC” SPHERES

Potential Forms of Performance: “daily” life-acts, activisms, ANY masquerading form or literal realization e.g. preschool, jury convening, protest, psychiatry office, carpool…
Probable problems: capitalism and post-capitalism, modes of production and political science frameworks, framing, divestment, definitions of “art,” art history and art world(ing)s, specialization, inclusion/exclusion…

…PERFORMED BY NON-HUMAN AGENTS

Potential Forms of Performance: Mechanized performance, performance/process by animals, inanimate objects (e.g. melting ice, weathering signpost), robotics, AI…
Probable problems: what and who is “human”? “Artificial” vs. “natural” intelligence, inanimacy, materialisms, humanism and post-humanism, technology and technique, animal and machine sentience…

…INVESTIGATING, STAGING &/OR ENGAGING PARA-NORMAL PHENOMENA

Potential Forms of Performance: Communication with ghosts, aliens, angels, etc, sceance, psychic endeavors, telekinesis, dreams, telepathy…
Probable problems: “The Unknown,” normalcy and normalization, excess and the metaphysical, faith, belief, epistemics…

…INVOLVING ITS OWN MODES OF MEDIATION/MEDIATIZATION AND DISTRIBUTION

Potential Forms of Performance: Disciplinary hacking, consideration of access and audience, documentation, modes of production as intentional performance…
Probable problems: modes of production, economics, mediation and propaganda, negative reinforcement, mnemonics and mimesis, sense and sensibility, access, technology, capitalism and post-capitalism, production paradigms…

…RESEARCHING (P)ARTICULAR HYPOTHETICALS VIA (VARIOUSLY) CONTROLLED EXPERIMENTS

Potential Forms of Performance: Performance as research, research as performance, forms of experiment rigorously pursued using articulated methods, hypotheses proposed…
Probable problems: scientific and other disciplinary “methods,” ways of formalizing inquiry, formalization in general, experimentation in general, research modes, hypotheses-formation…

…HAVING A DURATION OF ONE YEAR OR MORE

Potential Forms of Performance: Life-art, daily/hourly/ongoing performance, framing of autonomic performance…
Probable problems: endurance, framing, integration of “art” and “life,” bodily processes and self care, temporal frameworks and time…

…PHYSICALLY, MATERIALLY TRANSFORMING (MY) BODY’S SOCIAL, POLITICAL &/OR HISTORICAL CONTEXT, APPEARANCE &/OR “ABILITIES” TO PERFORM

Potential Forms of Performance: Surgery, extreme exercise, training, dietary performance, transition, direct race &/or gender-related performativities, privilege confrontation, disfiguration, configuration, incorporation, life-form performance….
Probable problems: Politics of “the body,” identity politics (i.e. “politics”), race, gender, sexuality, ability and agency, embodiment, somatics, bodily control and embodied cognition, self-body dichotomies…

…OPERATING ENTIRELY TRANSPARENTLY ONLINE THROUGH A DIGITAL INTERFACE

Potential Forms of Performance: Interactive performance, survey/surveillance, open-source projects, interrogation and dismantling of “IRL” vs. “URL” dichotomies, encoding and processing performance…
Probable problems: access to, usage and “invention” of technology, networks, information theory, systems thinking, coercion vs. collaboration, distribution of subjectivity, usership paradigms, authorship, encoding and encryption…

*THINKTANK operations were initiated on Wednesday, November 29 at The Kitchen as part of the Emergency INDEX 6 launch party. The NINE (9) modes of performance were derived from the past 6 years of the Emergency INDEX volumes, documenting performance across disciplines, spheres, and contexts. At the live, free, public launch party, NINE (9) sign(up)s were provided as propositions to situate 9 correlated thinktanks. Those present at this event were invited to attach their email addresses to one or more of the 9 physical signs. If you already signed up at The Kitchen, there is no need to send another e-mail, you are already on the list. You will receive an e-mail after February 1.

https://estherneff.wordpress.com/2017/12/04/propositions-ppl-thinktanking/