Interview by Mark Beasley
Mark Beasley: In 1977, the composer and writer R. Murray Schafer described “noise” as any unwanted or unmusical sound. What do the terms “noise” and “experimental music” mean to both of you?
Interview by Mark Beasley
A remounting of Robert Ashley’s legendary opera, That Morning Thing (1967), premieres tonight as part of Performa 11. That Morning Thing was performed only three times in the late 1960s, but acquired its reputation through rumor and the famous recordings of two sections, “Purposeful Lady Slow Afternoon”and “She Was A Visitor” (released by Lovely Music). In three distinct acts plus an epilogue, the opera presents the sociopolitical climate of the times. Below, curator Mark Beasley spoke to Ashley about this exciting re-creation.
Interview by Performa 11 Staff
British artist and musician Nathaniel Mellors is known for making films and installations that deal with the vicissitudes of language through absurdist scripts, psychedelic theatre, film, video, performance, collage and sculpture. His Performa 11 Premiere, Ourhouse (November 16th and 17th, 2011), is a surreal six-part video series that combines sculpture, language and power dynamics in an upper-class home. He will join curator Mark Beasley for an artist class at the Performa Hub to discuss the serious nonsense and surreal side of humor and language. In the meantime, we bring you our own seriously surreal interview with Mellors:
By Lindsay C. Harris
“They said it was comedy,” New York-based comedian Dina Seiden repeated into the microphone as she took the stage Sunday night at the HA! Comedy Club. The first night of Performa Ha!, curated by Mark Beasley featuring Reggie Watts, Dina Seiden, Bedwyr Williams and Lumberob, proved to be a night of incest, beatboxing, fake British accents, miming, Donald Sutherland and lasagna – conceptually-oriented stand-up, both funny and weird.
By Lumi Tan
The screen is ever- present in both life and art, and even when being used as a tool of information or communication, one is generally hiding behind it. Frances Stark spends the majority of her performance Put a Song in Your Thing (curated by Mark Beasley), behind a screen, but still manages to reveal quite a bit. Her vulnerability is a constant focus, whether it be in her self-consciously sexy online chats (which are further explored in her video My Best Thing, currently on view at MoMA PS1), her surrender to the unrelenting bass of Mark Leckey’s onstage sculpture BogBOxSoftSculptureTelephoneAction, or her willingness to be “daggered” by a master of the dance move, Skerrit Bwoy.
Skerrit Bwoy with Frances Stark