Performa Institute is a year-round think tank that includes public programs, an annual conference, online and print publications, international curatorial network program, and a repository of performance scholarship and documentation. Performa Institute initiatives provide important contributions to the field of contemporary art through the development of scholarship about performance and the role of this work in shaping the history of 20th and 21st century art.
Through the Performa Institute, we foster learning, critical discourse, and deeper engagement in performance. The Performa Institute presents a range of in-depth programs for the presentation and exploration of ideas and the exchange of research and knowledge, with a focus on the study of history and on forging a new intellectual culture surrounding contemporary art. The Performa Institute asks artists, curators, and writers to function as educators across disciplines. While we have presented public programs since our inception, the Performa Institute was launched during Performa 11, which formalized and coalesced under one banner our program offerings that complement and inform the Performa biennial. New York University’s Steinhardt School of Culture, Education, and Human Development’s Department of Art and Art Professions is our primary partner for the Performa Institute and hosts a majority of our public programs.
PERFORMA INSTITUTE PRESENTS
JUST BACK FROM LOS ANGELES: A PORTRAIT OF YVONNE RAINER
FOLLOWED BY A CONVERSATION WITH THE ARTISTS
Monday, January 9, 2017, 7 pm
Anthology Film Archives
32 Second Ave
New York City
Just back from Los Angeles: A Portrait of Yvonne Rainer is the third in a series of portraits by artist Adam Pendleton. The video poetically captures the choreographer, filmmaker, and writer Yvonne Rainer in conversation with Pendleton at a diner in New York City’s Chelsea neighborhood. Rainer and Pendleton, through a scripted and unscripted exchange, reflect on life and work, politics and art, and the relationship between memory and movement. Pendleton’s video portrait of Rainer is the latest in a series of evocative personal accounts that have thus far included Lorraine O’Grady: A Portrait (2012) and My Education: A Portrait of David Hilliard (2011-2014). Originally inspired by Gertrude Stein's text-based portraits, the videos capture beautiful, intimate, and profoundly self-reflexive encounters between the artist and his subjects. Pendleton’s choice of interlocutors gives meaningful illumination to the ideas informing his Black Dada project and its aim of constituting new genealogies in aesthetics.
Begun in 2008, Black Dada is a conceptual paradigm for a body of work, which includes ideas, paintings, sculptures, wall works, videos, a manifesto, and a reader. Black Dada references social and historical conditions through the formal methods of conceptualism, producing a point of convergence—the artwork, which sieves and questions matters pertaining to the freedom of abstraction in language and visual art, the animating force of blackness, and the strategies of experimental avant-gardes. Black Dada instigates and relies upon the possibilities realized through the melding of contradictions and aligning of seemingly incommensurable parts, references, and forms.
Just back from Los Angeles: A Portrait of Yvonne Rainer is commissioned on the occasion of 100 Degrees Above Dada, the Performa 17 biennial’s history anchor, and presented as part of the Performa Institute. As with previous biennials in which we explored Futurism (2009), Russian Constructivism (2011), Surrealism (2013), and the Renaissance (2015), we approach Dada’s (1916-1925) art historical relevance and influence on artists through unexpected and unusual perspectives and juxtapositions in intermedia art.
Pendleton and Rainer are paired by Performa Curator Adrienne Edwards as counterpoints to or varying entrees into the history, legacy, and influence of Dada in an effort to complicate and reimagine what we think we know about this art movement. Both artists share an interest in language and poetry, particularly when illogical and experimental, often incorporating them in their works. For instance, both wrote manifestoes that illumine the stakes of their art: Rainer penned the “No Manifesto” (1965) and Pendleton crafted the “Black Dada” manifesto (2008). Aesthetically Rainer and Pendleton demonstrate a proclivity for deconstructed and fragmented forms, which mine everyday dimensions of life for artistic material, frequently deployed with a sense of irony, and a preference for minimalist expression. They are both invested in art’s revolutionary possibilities for social change as evinced in Rainer’s anti-war protest dances in the 1970s and the feminist dimensions of her radical choreographic style and films, as well as in Pendleton’s Black Lives Matter flag for the Belgian Pavilion in the 2015 Venice Biennial and his latest series of paintings entitled Untitled (A Victim of American Democracy), which debuted this past summer as part of Edwards’ Blackness in Abstraction exhibition at Pace Gallery and are now on display in Pendleton’s first show with Galerie Eva Presenhuber, Zurich named Midnight in America.
Adam Pendleton (American, b. 1984) is a conceptual artist known for his multidisciplinary practice, which includes painting, publishing, collage, video, and performance. He often engages with language, both figuratively and literally, and addresses the re-contextualization of history. Through his work, the artist seeks to establish “a future dynamic where new historical narratives and meanings can exist.” Pendleton is widely collected by esteemed institutions around the world including Solomon R. Guggenheim Museum, New York, Museum of Contemporary Art, Chicago, The Museum of Modern Art, New York, Studio Museum in Harlem, New York, and Tate, London. Pendleton’s work is exhibited widely nationally and internationally. Recent projects include participation in the 11th Gwangju Bienniale (2016) and a traveling solo exhibition entitled Adam Pendleton: Becoming Imperceptible presented at the Contemporary Art Center New Orleans and Museum of Contemporary Art Denver (2016), as well as Museum of Contemporary Art Cleveland (2017).
Yvonne Rainer is one of the founders of the Judson Dance Theater (1962), made a transition to filmmaking following a fifteen-year career as a choreographer/dancer (1960-1975). After making seven experimental feature-length films — Lives of Performers, Privilege, and MURDER and murder, among others — she returned to dance in 2000 via a commission from the Baryshnikov Dance Foundation (After Many a Summer Dies the Swan). Since then she has made six dances, including AG Indexical, with a little help from H.M., Assisted Living: Do you have any money? and The Concept of Dust, or How do you look when there’s nothing left to move? which was co-commissioned by Performa and the Getty Center. Her dances have been seen throughout the U.S. and elsewhere, including the Whitney Museum, the Museum of Modern Art, Performa, Dia Beacon, Getty Research Institute, the Louvre, Documenta 12, and Sao Paulo. Museum retrospectives of her work have been presented at Kunsthaus Bregenz and Museum Ludwig; the Getty Research Institute; Jeu de Paume, École des Beaux Arts, La Ferme du Buisson, Paris, and Raven Row, London. A memoir, Feelings Are Facts: a Life, was published by MIT Press in 2006; a selection of her poetry was published in 2011 by Paul Chan’s Badlands Unlimited. Other writings have been collected in Work: 1961-73, The Films of Y.R., and A Woman Who…: Essays, Interviews, Scripts.
Both artists received Performa Commissions in 2007.
Curated by Adrienne Edwards.
April 19, 2004
NOT FOR SALE: Curating, Conserving, and Collecting Ephemeral Art with Joan Jonas, Robert Storr, Chrissie Iles, and Hans Ulrich Obrist at New York University
November 18, 2004
NOT FOR SALE: Artists' View with Marina Abramovic, Rirkrit Tiravanija, Klaus Ottmann, and Debra Singer at New York University
April 21, 2005
NOT FOR SALE: New Media and Sound with Christian Marclay, Christoph Cox, Ron Kuivila, and Elizabeth LeCompte at New York University
November 12, 2005
Writing about New Media and Performance with Catherine Wood, Katy Siegel, Anthony Huberman, Cay Sophie Rabinowitz, Margo Jefferson, John Rockwell, Bennett Simpson, and Linda Yablonsky at New York University
April 28, 2006
NOT FOR SALE: We Are Still Appalled with C. Carr, Lia Gangitano, Laura Hoptman, and Adrian Heathfield at New York University
March 24, 2010
NOT FOR SALE: Its History Now: Performance and the Museum with panelists Alexander Alberro, Chrissie Iles, Martha Rosler, and Glenn Wharton; respondents Eungie Joo and Adam Pendleton; and introduced and moderated by Performa Founding Director and Curator RoseLee Goldberg at New York University.
May 26, 2010
NOT FOR SALE: Have You Kicked a Building Lately? with panelists Vito Acconci, Elizabeth Berger, Beatriz Colomina, and Teddy Cruz; respondents Glenn Weiss, Alexander Pincus, and Peter Zuspan; and introduced and moderated by Founding Director and Curator RoseLee Goldberg at the Cooper Union
October 4, 2010
NOT FOR SALE: Diamonds on the Soles of Her Shoes: A Conversation About Contemporary Performance in Three African Cities with Okwui Enwezor and Deborah Willis; respondent Clifford Owens; and introduced and moderated by Founding Director and Curator RoseLee Goldberg at New York University
March 28, 2011
NOT FOR SALE: Staging Language with Adam Pendleton, Frances Stark, and Tom McCarthy; introduced and moderated by Performa Curator Mark Beasley at the Cooper Union
October 3, 2011
Massimiliano Gioni: On Biennials, as part of the Performa Intensive graduate program the NYU Steinhardt School’s Department of Art and Art Professions
October 27, 2011
Jens Hoffman: Biennials and Curatorial Ambivalence, as part of the Performa Intensive graduate program the NYU Steinhardt School’s Department of Art and Art Professions
November 1-21, 2011
Performa Institute, a platform of 30 biennial artist-led classes with Elmgreen & Dragset, Ragnar Kjartansson, Guy Maddin, Antonio Manuel, Mai-Thu Perret, Michael Portnoy, Serkan Ozkaya, Anton Vidokle Liam Gillick, Mika Rottenberg and Jon Kessler, Julieta Aranda, Carlos Motta and Raphael Zarka, among others, with Performa curators Defne Ayas and Dougal Phillips
April 12, 2012
Portrait of the Artist with Lorraine O'Grady and Kellie Jones at New York University
September 17, 2012
Why Dance in the Art World? with Jennifer Homans, Ralph Lemon, Jenny Schlenzka, and David Velasco at the Judson Memorial Church.
February 8–9, 2013
Get Ready for the Marvelous: Black Surrealism in Dakar, Fort-de-France, Havana, Johannesburg, New York City, Paris, Port-au-Prince 1932–2013 with Awam Amkpa, Barbara Browning, Robin D. G. Kelley, Simone Leigh, Paul D. Miller, Wangechi Mutu, Gabi Ngcobo, Tavia Nyong’O, Adam Pendleton, Lowery Stokes Sims, Greg Tate, Melvin Van Peebles, and Performa Associate Curator, Performa Institute Adrienne Edwards at New York University
May 17, 2013
Loudspeaker: A Concert Symposium for Extra-Normal Vocals with Joan La Barbara, Jace Clayton, Florian Hecker, Alex Waterman, Gelsey Bell, and Performa Curator Mark Beasley at the Cooper Union
April 24, 2014
Who Can Write About Performance Art? Featuring: Claire Bishop, RoseLee Goldberg, Adrian Heathfield, John Rockwell, Hrag Vartanian, at Judson Church in partnership with NYU Steinhardt.
April 24-25, 2015
PARADISO: Performing the Renaissance with Pauline Curnier Jardin, David Hallberg, Zach Layton, Kate Lowe, Alexander Nagel, Shahzia Sikander, Pamela Smith, Claire Tancons, Rebecca Zorach, and Our Literal Speed at New York University
September 15, 2016
Freedom As Form: Gavin Jantjes and Nandipha Mntambo in Conversation. Co-presented by the Institute of Fine Arts, NYU and Performa Institute