Here is a little video of me performing an in-progress version of a song called “C.P. Cavafy” last week at a house show in Los Angeles. The song works with Cavafy’s poem “Chandelier” (translated by Daniel Mendelsohn) and this performance was illuminated by the glow of two people browsing and using their favorite sex + love apps (I believe Scruff and Tinder in this case). Many thanks to Laura Vitale, whose drawings will be featured in this project’s booklet, for opening up her apartment for the show.
I wrote a piece in response to Taylor Mac’s “A 24-Decade History of Popular Music: 1900s-1950s” that Dan Fishback has been kind enough to post over at “The Helix Queer Performance Network.” Check it out.
Here’s a little excerpt:
3. History is exhausting
While Mac may not be attempting to be exhaustive, judy definitely strives toward the exhausting. Mac has a history of creating long performances. Prior to judy’s plan for a 24-hour/24-decade marathon performance art concert, Mac’s play “Lily’s Revenge”clocked in at around five hours. During the performance of 1900s-1920s at NYLA, judy justified this propensity for long durations by explaining that judy believes “something happens” when an event lasts longer than it is expected to—something else is opened up, another kind of attention or experience becomes possible. To perform three-hours of three-decades worth of popular music non-stop (let alone six-hours of six-decades worth, or 24-hours of 24-decades worth) is exhausting, for both audience and performers (although presumably especially for the performers). There is something of this exhaustion and duration in the act of historical thinking itself—history weighs on the body and strains the voice. Things break down, but perhaps they also break open.
I’ll be performing two new solo pieces as part of a two-day symposium at NYU on Avital Ronnell’s The Telephone Book. My performance will immediately follow the opening panel (October 30th, 5:15, 42 Washington Mews) that includes Emanuel Bianchi, Patricia Clough, Mariano López Seoane, Fred Moten, and is moderated by Ann Pellegrini. See the poster below for details:
I’ll be performing a new score (Ensemble 5 // Groupuscule) with David DeWitt, Millie Kapp, Joanna Roberts, and Tara Aisha Willis at BRIC on Tuesday, October 14th. It’s at 7pm and free. Curated by Ben Thorp Brown and Martha Wilson, and featuring work Jeanine Oleson and Pamela Sneed as well. Come on by.
At the beginning of the summer I sent out the following email:
The only thing I asked people to do beforehand was pick a sentence or two from the text and memorize it. At the beginning of each gathering we would go around and say our sentences as my phone recorded the audio. Here is an excerpt of the results: