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The Performa 17 Biennial PERFORMA 17 FINAL REPORT WWW.PERFORMA-ARTS.ORG FREE “Since its foundation in New York in 2004, Performa has excelled in the field of live art. Established as an organization to support the study and development of live performance. Performa is a biennial, an institute, an online magazine and an agency that commissions A MUSEUM new productions.” - L’Officiel, France WITHOUT WALLS The Performa 17 Biennial Since its inception, Commission was conceived to engage Performa has audiences in significantly understanding been a leader in and absorbing these many different commissioning aesthetics, values, cultures, and climates. artists whose work “Performa has always made a case for the importance of has collectively Performance and architecture have performance art and considers the ways artists’ bodies become shaped a new long been a focus of Performa, which active sites and the central medium of their work. In using their chapter in the has conspicuously taken the position multi-century to cross-pollinate the conceptual and bodies, artists position themselves both as subject and object, legacy of visual actual underpinning of visual art and allowing for a critical process where the individual directly confronts the social, political and cultural…” RoseLee Goldberg/ Founding Director artists working in architectural vocabularies. For Performa - Metropolis and Chief Curator live performance. 17, choreographers, architects, and For Performa 17, our team of curators, performers created works that not only research fellows, and producers spent illustrated but also defined new viewpoints “The Performa 17 Biennial isn’t so much two years, investigating a range of for reading architecture, its spaces and an art exhibit as it critical subject matter, in particular its experiential substance, while utilizing is a shape-shifting the use of live performance as central existing plazas and buildings as frames mecca of magical to artistic practice in African art and and mirrors for action. Alongside these thinking. Every other year the arts culture, the intersection of architecture polemic inquires, and the programming organization, known and performance, and the hundred-year they produced, Performa, as with every for its innovative legacy of Dada. biennial, selected a particular “historical commissions of anchor” to both build on our extensive live performance, Performa curators visited Dakar, Nairobi, archives, and provide reference and a descends on New York City with work Addis Ababa, Tangier, Johannesburg springboard for contemporary artists. by artists from and Cape Town as part of our research This year, the powerful and disruptive around the world.” process, examining how artists in these Dada movement continued to inspire and - WNYC Radio disparate cities consider performance as inform artists around the globe. an extension of their creativity in multiple disciplines—visual art, music, dance, film, The Performa Biennial provides an poetry, photography—and how each extraordinary and very public platform BARBARA KRUGER BRANDED artist introduces us to distinct histories and for showing the essential role of art sensibilities. The resulting commissions in society. Through live performance The visual identity for Performa 17 was and scholarship examined immediate we touch people directly, change their PERFORMA 17 designed by Barbara Kruger and adopted and critical concerns confronting our minds, and introduce them viscerally to across the Biennial’s collateral including urban centers, the shifting political the complicated emotional and aesthetic logo, website, social media, and digital and cultural currents of our turbulent expressions of artists responding to the and printed marketing materials, created world, and ultimately the role of the world in which we live today. in collaboration with Project Projects. arts and of artists in articulating the complex sociopolitical context informing - RoseLee Goldberg, Founding Director Kruger’s iconic typography captures the contemporary art today. Each Performa and Chief Curator intensity of life in the city, the impact of commercial branding on our daily lives, and “Thanks to RoseLee Goldberg, performance art has a place in new museums the necessity of the critically resistant voice and history books.” - The Economist of the artist in the public domain. Kruger’s Performa Commission and Biennial visual “Today, virtually every institution in the country that shows contemporary art has robust performance programming. Now, in this live-art-friendly identity interacted and intertwined to blur world, RoseLee Goldberg and her fellow Performa curators have had to the lines between branding, public art, make their presence felt with sheer volume.” - Art In America performance, commerce, and appropriation. A BIENNIAL FOR NEW YORK CITY nterfacing directly with the city, its streets, buildings, public spaces, and cultural venues, the Performa Biennial functions as a dynamic form of urban activism, provided places for people to gather, engage, react, and explore. As with the previous six biennials, New York City provides a powerful context and unique Isetting for the biennial program. Local and visiting audiences often describe the feeling of discovering the city as their favorite part of the program. We strive to find locations and venues across the city for our work that add a unique dimension to a project and provide an opportunity to collaborate with a new organization and engage with a new local community. This year in particular we produced and presented a significant number of works in Harlem using the Harlem Parish on 118th Street as an uptown base of operations and programming to compliment our downtown biennial hub in SoHo. PERFORMA 17 AUDIENCE DEMOGRAPHICS - ETHNICITY PERFORMA 17 AFRICAN HISPANIC/ AMERICAN/ AUDIENCE BY LOCATION LATINO BLACK TRI-STATE 7% GLOBAL AREA 11% OTHER U.S. OTHER (NOT U.S.) 6% 9% 7% 8% ASIAN “We want to try to use the city as this urban texture and to let artists take New 17% WHITE York” 56% ROSELEE GOLDBERG NYC 79% PERFORMA 17 AUDIENCE DEMOGRAPHICS - AGE 65+ 55-64 4% 7% 19% 45-54 18-24 BIENNIAL BY THE NUMBERS 9% 48 artists 12 curators 35-44 31 Performa Commissions and Projects 21% 25-34 40% 2 International Pavilions 12 Biennial Consortium projects 133 events; 77 free, 56 ticketed 33 venues HOW AUDIENCES HEARD 31 cultural partners ABOUT PERFORMA 17 Over 55,000 Attendees over 3 weeks NEWSPAPER OR OTHER OTHER PRESS ATTENDED 8% 11% PREVIOUS BIENNIAL 14% THE BIENNIAL CONSORTIUM WORD 34% OF MOUTH The Biennial Consortium is a selective network of New 14% SOCIAL York City’s art and cultural institutions, all presenting MEDIA and supporting performances and exhibitions that align 18% MAGAZINE with the Performa 17 Biennial. AD 1% BIENNIAL WEBSITE Abrons Arts Center African Film Festival Anthology Film Archives NARCISSISTER Art in General THE BODY IS A HOUSE Black Lady Theater Participant Inc. presented a video and performance by Bronx Museum Narcissister, whose live works deploy humor, pop songs, Bronx Academy of Arts and Dance elaborate costumes, and her trademark mask – all tools for Brooklyn Academy of Music dismantling what Stuart Hall calls “fixed and closed stereotypical City Point representations.” Short-form live works were interspersed with Connelly Theater performances made for the camera, allowing for multiple costume changes. Each evening concluded with a respondent Danspace in conversation with Narcissister, including Ariel Osterweis, Estonian House and Lia Gangitano, among others. Presented by Participant Inc. Photo © Cameron Cuchulainn The Glass House Harlem Parish Leslie Lohman Museum of Gay and Lesbian Art XAVIER CHA Lugemik (Estonia) BUFFER Metropolitan Museum of Art Buffer was a perception-altering new work by Xavier Cha. Participant Inc. Comprised of three scenes that toggle back and forth like Queens Museum browser windows in a state of perpetual buffering, it laid bare Storefront for Art and Architecture the intimate yet alienated relationships we have with the bodies Times Square Arts on our screens. Presented by BAM Fisher. WhiteBox Arts Center PUBLIC Arts 2 BIENNIAL FINAL REPORT All photos by © Paula Court unless noted OUR GLOBAL IMPACT erforma’s Pavilions Without Walls program was created in 2013 to forge strong partnerships between New York and countries around the world, fostering cultural exchange and connecting international artists with global audiences and New York City’s cultural landscape. Performa Pavilions programming showcases the Pmost vibrant and significant art from each country. SOUTH AFRICAN PAVILION orn and raised in Durban, South Africa, Founder and Chief Curator RoseLee Goldberg has long championed South African artists. The Bopening of the major new Zeitz MOCAA and A4 Arts Foundation in Cape Town in 2017 has rapidly expanded the art and performance scene in Johannesburg. Performa seized on this exciting momentum to present a South African Pavilion with seven of the most important artists in the country today. Commissions and projects in the South African Pavilion For South African artists, art and politics are not separate spheres of practice Without Walls included: but complex systems in which they play important cultural and intellectual roles. Performance, in particular, has emerged as a flexible vehicle for these Kendell Geers artists living under politically repressive regimes, because it is able to speak across the multitude of cultures, languages, tribes, identities, songs and Nicholas Hlobo landscapes of South Africa and beyond.
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