TACTICAL PERFORMANCE explores the history, ethics, aesthetics, and practical concerns of tactical performance and creative activism. The powerful sociodramas created by the American Civil Rights Movement and the American Indian Movement create a framework for this talk, followed by other major groundbreaking groups such as the Yippies, the Wobblies and ACT-UP. Bogad also examines these groups’ more ridiculous and contemporary descendants such as Billionaires for Bush, Reclaim the Streets, The Clown Army, and the Yes Men, as well as the grim and gripping actions by Iraq Veterans Against the War and 1000 Coffins. Bogad draws on 20 years of experience as an artist-activist, having worked with most of the contemporary groups he discusses as a writer, performer and strategist.
L.M. Bogad is Professor of Political Performance at U.C. Davis. He is the author of the books Tactical Performance: The Theory and Practice of Serious Play, Electoral Guerrilla Theatre: Radical Ridicule and Social Movements, COINTELSHOW: A Patriot Act, and of performances such as ECONOMUSIC: KEEPING SCORE, HAYMARKET, SANTIAGO 9/11, and GGPS: The Guillermo Gómez-Peña Global Positioning System. Bogad is a veteran of the Lincoln Center Director's Laboratory and cofounder of the Clandestine Insurgent Rebel Clown Army.
Thursday, September 22, 2016 7-9pm
The only ethical response to the attempt to write the “History of AIDS” in the midst of an ongoing pandemic is to dismantle it as it is being constructed. One way to do that is through the images that are used to represent it, the canon of AIDS political art that came out of ACT UP. The dominant narrative proposes the ACT UP AIDS activist story as a key component in the “History of AIDS,” but in the context of this telling it is more accurately the gravitational pull of one tiny fragment of it, the tale of an embattled community demanding the drug research that led to the doorstep of pharmaceutical interventions offering viral suppression to patients with access, a narrative painting institutional frameworks as receptive to “dissent.” In this context it is a saga deployed as part of an intricate ecosystem of power narratives that has triggered a second crisis, a crisis of remembering, and it has tipped artists, activists, and archivists into a historiological tailspin.
Avram Finkelstein is an artist and writer living in Brooklyn, NY. He is one of the founding members of the Silence=Death collective and the art collective, Gran Fury, with whom he collaborated on public art commissions for international institutions including The Whitney Museum of American Art, The Venice Biennale, Artforum and The New Museum. He has just completed a book on dismantling the AIDS narrative through its images, and is one of the artists featured in the upcoming Visual Arts and AIDS Epidemic oral history project at the Smithsonian’s Archives of American Art.
Thursday, September 29, 2016 6-8 pm
Pereda's fiction/documentary hybrid films are deeply rooted in Mexican society. During the talk he will discuss mechanisms for representation of various social classes and the processes for shaping performances of professional and non-professional actors.
Nicolás Pereda is a filmmaker whose work explores the everyday through fractured and elliptical narratives using fiction and documentary tools. His films have been exhibited in festivals around the world like Cannes, Berlin, Venice, Locarno, Rotterdam, Toronto, San Sebastian and New York Film Festivals and have been awarded over twenty five international prizes. He has had more than twenty retrospectives in various festivals, cinematheques and archives around the world including Anthology Film Archives, Harvard Film Archive and the Jeonju International Film Festival. Currently he serves as Director of the Rutgers Filmmaking Center.
Monday, October 17, 2016 5-7pm
Exhibition on view through Thursday, June 30, 2016
Gallery Hours: M-F, 10 am-6 pm
Behold the essence of the Yes Men. Touch the exquisite fabric. Feel the realness. Smell the Goodwill. Do you see the men in these photographs? Those are faces that say, “We were born to speak at your corporate event. Where’s the bar?” In these suits, our men have waltzed through security, marched up to podiums, and dazzled astute executives with the promise of plutocrat heaven. Classy Suits and Totally Authentic IDs: The Mark of Yesmennery®.
We gathered on Wednesday, April 20th, for the opening of "We're Screwed! The YesMen's Greatest Hits," an exhibition that will ignite your laughtivist tendencies for years to come. Unless you're an unrepentant tycoon. In which case, consider yourself warned. #NSFWallStreet.
This exhibition is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.