Entries tagged with performance

Carla Harryman & Jon Raskin
Cloud Cantata and “Scales for the Living”
Text-based and multi-instrumental performance

Gray Loft Gallery
Saturday, October 22, 7:30 PM
2889 Ford Street, 3rd Floor, Oakland
RSVP grayloftgallery@gmail.com

Poet Carla Harryman poet and musician Jon Raskin musician render Harryman’s Cloud Cantata and in-progress “Scales for the Living” in variations of speaking, singing, and musical interpretations. These dialogue poems respond to domestic companionship and televised bubble, dreamscapes and slant trouble, war, immigration catastrophe (de) realization, dangerous waters, historical circumspection, and whatever occurs in the liminal mind or neighborhood of pandemic time.

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Event 56: Poets Theater

From Amiri Baraka, Home on the Range

From Amiri Baraka, Home on the Range

Festival of Poets Theater
Sector 2337, Chicago
2–5 December 2015
(After On Kawara)

Heidi Bean
Patrick Durgin
Carla Harryman
Devin King
John Beer
Daniel Borzutzky
John Tipton
Jennifer Karmin
Jennifer Rupert
Chris Glomski
Peter O’Leary
Laura Goldstein
Dan Godston
Analeah Rosen … More

post_moot 2KX / poetry + performance: a convocation
Miami University (Oxford, Ohio), 22–25 April 2010

Meetings, encounters, events, various types of collaboration between people, games, festivals, and places of conviviality, in a word all manner of encounter and relational intervention thus represent, today, aesthetic objects likely to be looked at as such, with pictures and sculptures regarded here merely as specific cases of a production of forms with something other than a simple aesthetic consumption in mind.

—Nicolas Bourriaud, Relational Aesthetics (les presses du réel, 2002), 28–29

Nicolas Bourriaud’s account of new forms of aesthetic practice is simple enough: after Pierre Bourdieu and Jacques Rancière, he identifies a range of “outer-directed” art practices that have emerged since the 90s in alternative venues. While originating in conceptual art, site-specific sculpture, installation, and performance from the 60s and 70s, these new forms translate the earlier ones into modes of social interaction. We are no longer speaking of “genre” per se, as with the position of painting and sculpture above. The aesthetic becomes the location of open interaction that connects artwork and community—to become a model, even instigator, of sociality. The open forms of formerly distinct genres—conceptual art, site-specific sculpture, installation, and performance—are further dismantled and recombined toward a horizon of social engagement as art practice.

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