Upcoming live performance art events at Glasshouse. For past events please refer to our archive
To House a River
An ephemeral art show with works and processes by:
Koyoltzintli, Sarah E. Brook, Lital Dotan, Kerry Downey, Alexis Elton, Shanti Grumbine, Rita Leduc, and Alison McNulty
Saturday, November 1 - Sunday, November 2, 2- 5 pm
Glasshouse Project, 257 Springtown Rd, New Paltz, NY 12561
Rosendale Theatre, 408 Main Street, Rosendale, NY
Saturday 3/29, 3-5 pm, Glasshouse Project
Spaces of encounter between art, community, and territory an emergent collaboration between communities in Bogota, Colombia and the Hudson Valley, NY
Glasshouse Project, 251 Springtown Rd, New Paltz
Performance Records with Marilyn Arsem at Rosendale Theatre
Camila Cañeque (Barcelona, 1984-2024) was a visual artist and poet who embodied an existential fatigue as a form of resistance. Her work included performance, video, installation and writing. From a disenchanted perspective, her work explored isolation, alienation and fatigue to question the frenetic pace of our society.
MM / YYYY
Sleep.
MM / YYYY
Are you sleeping?
Yes.
Are you sleeping said the voice. Yes I said.
Are you sleeping I asked. Yes he said.
Camila Cañeque
On gathering an aftermath as it unfolds- ‘An Emptying’ is a 24 hour performance art program featuring durational performance works and ephemeral installations. This program is part of Upstate Art Weekend 2024
Free and open to the public. RSVP highly recommended
ORGANIZED BY LITAL DOTAN
‘An Emptying’ 24h program is part of a year long theme that looks at the aftermath of performance as part of its becoming. The works presented will be embodying the notion of “emptying” as an ongoing action from various physical, alchemical and gestural perspectives. Durational performances will be exploring submergence, participatory hovering sites, an ongoing weaving of surrealistic matter, a work of endurance and exhaustion, a cyclical micro-healing offering, along gentle participatory actions and activations.
Among the durational live performances happening on the grounds throughout the program, will be three process-based installations around our new site, which was flooded in 2011 and vacant since- Alexis Elton will be activating wicking salt sculptures, Michael Asbill creates an environment of carbonized charcoal and Millicent Young looks at rusting, a process chorus for an ongoing emptying.
The program will be physically engaging the grounds with an emptying, while acknowledging that any process of emptying is always simultaneously, and relationally, filling.
On gathering an aftermath as it unfolds- ‘An Emptying’ is a 24 hour performance art program featuring durational performance works and ephemeral installations. This program is part of Upstate Art Weekend 2024
Free and open to the public. RSVP highly recommended
‘An Emptying’ 24h program is part of a year long theme that looks at the aftermath of performance as part of its becoming. The works presented will be embodying the notion of “emptying” as an ongoing action from various physical, alchemical and gestural perspectives. Durational performances will be exploring submergence, participatory hovering sites, an ongoing weaving of surrealistic matter, a work of endurance and exhaustion, a cyclical micro-healing offering, along gentle participatory actions and activations.
Among the durational live performances happening on the grounds throughout the program, will be three process-based installations around our new site, which was flooded in 2011 and vacant since- Alexis Elton will be activating wicking salt sculptures, Michael Asbill creates an environment of carbonized charcoal and Millicent Young looks at rusting, a process chorus for an ongoing emptying.
The program will be physically engaging the grounds with an emptying, while acknowledging that any process of emptying is always simultaneously, and relationally, filling.
Jil Guyon, performs at Glasshouse, 2017
Gutai Art, which was organized by Jiro Yoshihara in 1954 in Osaka, began as an abstract painting movement aimed at decentralizing Euro-American Modernism. Through strategic outreach, Gutai quickly became the inspiration to a global whirlwind of happenings and participatory art that historically set the language of what is now identified as Performance Art. The influence of the Gutai Art Association however was mostly sidelined as an anecdote within the history of Performance Art and often overlooked within the larger story of Modernism.
In this context of contemporary appreciation Haruchi Osaki (Japan) presents an immersive architectural installation referencing the organic balloon-like work of Akira Kanayama; Sindy Butz (Germany) creates an embodied paper environment referencing the paper-action work of Saburõ Murakami; and Jil Guyon (United States) creates a performance installation of fog and movement referencing the smoke productions of Motonaga Sadamasa. An ephemeral ice dress installation by Lital Dotan will be presented as a tribute to Atsuko Tanaka’s ‘Electric Dress’ (1956)
The evening will feature a projection of Up To and Including Her Limits (29 min, 1976), which includes edited excerpts of the seminal performance work by Carolee Schneemann as an intuitive reference to the suspension-based action painting works of Kazuo Shiraga (1956).
The HOMAGE Series at Glasshouse Project is a collective, autodidactic effort, seeking to reinforce and elaborate on art-historical trajectories in performance art and to respond to the methods and modes of influential performance artists. These performances are not attempts to reproduce past or existing performances, but are rather responses to particular concerns, aesthetics, and ideas that the performing artist identifies in the homage artist’s work. These homage performances embody the relation between past and present, and are designed to set a language based on appreciation. Some past homage performance evenings include tribute to artists as Ana Mendieta, Allan Kaprow, Rirkrit Tiravanija, Yves Klein, Valie Export, Yoko Ono, Pina Bausch, Sarah Kane and many more.
Download PRESS RELEASE (PDF)
BIOS:
Haruchi Osaki, PhD (b. Japan) is an artist with inter-disciplinary background in psychopathology and developmental rehabilitation studies. He has presented works related to sensory disabilities, incompleteness, and physical movement. Major exhibits include "CONNECT ⇄" (National Museum of Modern Art, Kyoto, 2020), "Sustainable Sculpture" (Komagome SOKO, 2020), "HYPER-CONCRETENESS-Fiction and Life" (Kyojima Nagaya,2018), "Reborn-Art Festival" (Miyagi, 2017), "New Rube Goldberg Machine" (KAYOKO YUKI, Komagome SOKO, 2016), etc. In 2015, I started the " House of Disability" project in collaboration with architects at Asahi Art Square, held an exhibition of renovated houses in Kitasenju in 2017 and Kyojima in 2018. It was introduced in the book "Architecture Tokyo" (Misuzu Shobo) by Taro Igarashi. Currently, we are working toward the realization of the construction of House of Disability in Yazu Town, Tottori Prefecture. Awards include the Aichi Architects Association "Architecture Contest" Nobuaki Furuya Award (2011), "Glow Up!! Artist Project 2014" (Asahi Art Square, 2014), and "ART AWARD TOKYO 2007" Special Award (2007).
Sindy Butz (b. Germany) is an interdisciplinary visual and performance artist, Butoh dancer, somatic movement educator, and fabricator living and working in New York City. Butz immersive artworks, installations, and endurance performances were exhibited internationally in museums, galleries, and theaters such as the Brooklyn Museum, Queens Museum, New Museum, Museum der Dinge Berlin, Theater for the New City, Dixon Place, Wave Hill, Asian American Art Alliance, and Princeton University, to name a few. She holds a Bachelor's Degree in Visual Arts from the academy AKI Enschede (Netherlands) and a Master's Degree in Art Science from the University of the Arts Berlin. She continued her postgraduate research with a renowned DAAD scholarship at NYU ITP in wearable art and assistive technology. Butz is a certified BodyMind Dancing™ and FlemingElastxx® instructor, Butoh-, Chi Kung- and Dynamic Embodiment Practitioner™. She has been a principal dancer of the Butoh Company Vangeline Theater from 2010 to 2018 and joined the New York Butoh Institute faculty in 2016. She has trained extensively in Japanese Butoh dance, Noguchi Gymnastics, and Katsugen Undo with Vangeline, Yoshito Ohno, Semimaru of Sankai Juku, Natsu Nakajima, and Mari Osanai, among many others.
Jil Guyon (b. United States) is a multidisciplinary visual and performing artist. Guyon's productions have been presented at theaters, cinemas, museums, galleries, and concert halls worldwide, including Lincoln Center, Symphony Space, Queens Museum, Museum of the Moving Image, and Crystal Bridges Museum of American Art. Guyon is a Lumiere prize (Canada) nominee and a recipient of the Tarkovski grant and numerous awards in experimental film. She was previously Curatorial Associate at Neue Galerie New York where she designed and wrote the Schiele and Contemporary Culture section of the Egon Schiele catalogue raisonné that accompanied the exhibition. She holds an MFA in painting and art history from Hunter College where she studied with art critic and theorist Rosalind Krauss, and sculptor Robert Morris.
Carolee Schneemann (1939-2019) was a pioneering American artist, known for her multi-media works on the body, narrative, sexuality and gender. Since the early 1960s, Schneemann used film and video in her experimental work, shattering taboos and redefining the notion of the erotic. Her seminal performances of the 1970s were as transgressive as they were influential. Schneemann’s cinematic work continues to provoke, exploring female sexuality in relation to art-making, ritual, and human-animal relationships.
Lital Dotan is an artist and curator of performance art, she is the co-founder of Glasshouse Project.
Glasshouse is thrilled to host
Still from ‘Junkanooacome’ by Jodie Lyn-Kee-Chow (2019), photo by M. Charlene Stevens
BIO
Jodie Lyn-Kee-Chow is a Jamaican-American interdisciplinary artist based in Queens who draws from nostalgia for her homeland, Caribbean folklore, fantasy, feminism, globalism, spirituality, environmentalism and colonial narratives in works ranging from drawing to installation and performance. The African diaspora, European colonialism,, and Chinese migration make up significant parts of Lyn-Kee-Chow’s origin story; the ancestral convergence in Jamaica (slavers, enslaved Africans, and migrant workers) followed by her family’s immigration to the United States informs an artistic practice rooted in storytelling and the sharing of lost traditions.
Lyn-Kee-Chow’s work has been exhibited in Jamaican Pulse, Royal West Academy of England, Bristol, UK (2016); Jamaica Biennial, The National Gallery of Jamaica, Kingston, JA (2017) as well as Guangzhou Live 5: International Performance Art Festival, China (2014). Solo exhibitions include Picnic Parade at the Chinese Historical Society of America, San Francisco, CA (2022) and Junkanooacome at Five Myles, Brooklyn, NY (2022). Lyn-Kee-Chow co-authored and performed in Living Histories of Sugar in the Caribbean and Scotland: Transnationalisms, Performance and Co-creation, a project funded by the Arts and Humanities Research Council and presented in Kingston, JA, and Greenock and Edinburgh in Scotland (2022). She is the recipient of the New York Foundation for the Arts Fellowship Award, Rema Hort Mann Artist-in-Community Engagement Award, Franklin Furnace Fund,, and Culture Push Fellowship for Utopian Practice. Lyn-Kee-Chow has held residencies at Wave Hill Winter Workspace, and Triangle Arts, and her work has been featured in “Patchwork: Essays & Interviews on Caribbean Visual Culture” by Jaqueline Bishop, Hyperallergic, The Miami Rail and Artsy. Jodie Lyn-Kee-Chow is currently a 2023 sponsored artist of The Field's Social Justice Artist Practitioner program and an artist-in-residence with Residency Unlimited and KODA on Governors Island.
caption: Kite aka Suzanne Kite, uŋȟčéla wílečhala, for Nathan Young (Waxing Crescent Peyote Moon), 2020
Join us September 10, 5-7pm to explore and activate ‘Circuit Training’, Laurie Berg’s newest dance installation, created during her residency at Glasshouse.
July 16 Live performance, installation open to the public July 23-24 12-6pm
Visual Artist, Shanti Grumbine, will be presenting a new solo project at the outdoor shed at Glasshouse, comprised of video, textile and original text.
Laps(e) will be accompanied by site specific responses to the land at Glasshouse by multimedia artists Rita Leduc and Sarah E. Brook. All three artists utilize transparent materials to navigate discrepancies between interior experience and the exterior world.
Edible Bodies
Outdoor Food Performances and Soup Planting
Performances by Jodie Lyn-Kee-Chow, Amanda Heidel, Amalya Megerman, Jessica Van Deursen
Participatory installation by Michael Fortenberry
DURATIONAL LIVE PERFORMANCES BY: LINDA MARY MONTANO, PHYLLIS CHEN, NEWBORN COLLECTIVE, JOCELYN BEAUSIRE + CASEY ADAMS
PARTICIPATORY INSTALLATION: BRIAN McCORKLE
Two Durational Performances at Glasshouse by Lital Dotan & Emilie Houssart
new rain date!
Sunday October 17, 2021 5-8pm
From the Electric Dress of Atsuko Tanaka (1957) through Yoko Onos’s ‘Cut Piece’ (1964) to Tania Bruguera’s mud suit in ‘Displacement’ (1998)- The Dress has long played an active role in performance art’s history, serving a contextualizing agent and a performative vocabulary.
'Transient Shelters' is a durational performance evening focusing on the performativity of objects that are worn- allowing them to activate, orchestrate and disintegrate through the time and space of performance.
The performances will be intertwining through the outdoors of Glasshouse- negotiating the outskirts of a house and its mapped deed or unmarked territories.
Emilie Houssart is a Dutch American artist and curator based in upstate New York. Through multidisciplinary projects, she addresses normalized symptoms of human-ecological dissociation, and related violence against ancient, interspecies models of collaboration. Her performative works play at the boundaries of the absurd, questioning our desires for control, how we evaluate intelligence, and our relationships with the earth itself. Recent shows include Owning Earth at Unison Art Center and Rooted: Art + Land with the Dorsky Museum/Walkill Valley Land Trust. She has held residencies at the Frans Masereel Centrum, Belgium, and the Dorsky Museum, New Paltz, NY. More information is at emiliehoussart.com .
Lital Dotan is an artist working with performance, video and installation art. Her works have been exhibited internationally in venues such as the Israel Museum, National Museum Cracow, Queens Museum, Haifa Museum, The Kitchen, Jewish Contemporary SF among others and was featured in magazines such as NY Times, Hyperallergic, NY Mag, White-hot Magazine, Paper Mag, ArtSlant, Haaretz, Huffington Post, VISION China, TAR Magazine to name a few. She is the co-founder of Glasshouse art-house and founder of Que sal mah performance-fashion brand. She wrote 3 stage plays, the first of which, 'Second Floor' is planned to premiere next year.
For the duration of her residency, Donna Kukama will be presenting weekly texts (written, read, performed, projected) in conversation with existing domestic spaces and objects at Glasshouse. This performative intervention highlights her physical absence while amplifying the presence of “texts that are not seen”.
Opening Reception: July 10, 1-5p
As part of our inaugural opening season at Glasshouse Upstate, which includes artist residencies, performance exhibitions, lecture series and a house-wide performance exhibition- we are thrilled to host ‘Alchemy/Ceremony/Coffee’ a performance exhibition by resident artist Sindy Butz (b. Berlin, lives and works in NYC).
WINDOW THURSDAYS
Live Performance At The Age of Social Distancing
begins Thursday, April 23, 9pm
Glasshouse- 251 Springtown Road, New Paltz, NY 12561
Please RSVP at email.glasshouse@gmail.com
