Selección de Afiches Performances 2010-2014
Recreación on-line y en Galería CAD de la instalación realizada por Go! Push Pops en CulturePush, Westbeth, 2016.
Impresión color, 30 x 18 cm (11 x 17 in.) Producidos en edición limitada de 100
Vista Montaje Afiches
Exhibición en Nueva York, USA.
Go! Push Pops
1) QUEEN$ DOM8TIN, 2013
A Go! Push Pop performance in collaboration with Untitled Queen, Bronx Museum, First Fridays! series. Loosely based on Egyptian queen mythology, this work highlights the blossoming NYC drag culture accelerating our current global shift toward enhanced moon energy and the Divine Feminine. As a performative, neo-shamanic ritual, QUEEN$ DOMIN8TiN celebrates the gender-blending queer body as shape-shifter, seer and healer.
2) BOOMBOXBOY, 2012
Go! Push Pops in collaboration with Prince Harvey, a NYC-based artist whose performance platform “BoomBoxBoy” explores ownership, community and the social implications of race, class and gender. During The Anniversy List, a multi-location exhibition in the Station North Arts District of Baltimore (curated by the MICA MFA in Curatorial Practice Department) Go! Push Pops joined BoomBoxBoy for this community engaging art initiative. A project focused on building a bridge between the institution’s arts programming and the existing community of historically disenfranchised low-income African American residents, The Anniversary List took place in various businesses of the burgeoning arts district. Go! Push Pops posed as feminist flygirls beside BoomBoxBoy, whose performative call and response approach to rapping and beat making urges the audience to take a participatory stance embellishing the music with clapping and speaking in rhythm.
3) 500,000, 2013
A Go! Push Pop performance in collaboration with Megan Welch exposing inter-military rape,“500,000” refers to the number of women sexually assaulted within the ranks of the U.S. Military. Inspired by Kirby Dick’s award-winning documentary Invisible War, Go! Push Pops dressed in the likeness of gender-bending officers and led a processional along 14th street culminating at the Salvation Army. Singing, amplifying testimonies of rape survivors and slowly cutting up an American flag along the way, Go! Push Pops protested in their embodied feminist idiom the U.S. Military’s longstanding sexually motivated violence against women. In 2015, clips of this performance were featured in Robert Adanto’s documentary on 4th-Wave Feminism, The F-Word.
4) MAY POLE, 2012
A performance in collaboration with the artist Milena Shakujō during The Standard for Spring, a nomadic performance festival in the Chelsea Arts District. An experimental approximation of the ritual of European folk festivals, May Pole explored this age old practice and its many attributed meanings, particularly the “May Pole” as symbol of the world axis (axis mundi) and reverence for sacred trees. Dancing in chaotic, abstract formations around the pole, the Push Pops wrapped themselves and nearby spectators in the silky bouquets of ribbons attached to the crest of the May Pole as they moved to the urban industrial soundscape produced on the laptop of Milena Shakujō.
5) CORPSE LIMB CULT, 2012
Corpse Limb Cult was a durational performance filmed over several hours under the trees of Forrest Park, Queens. A collaboration with Nightcrafts Spellcraft, Corpse Limb Cult is a black metal, pagan, nu-age, rainbow illness of an abomination. Corpse Limb Cult expresses the past-future where women are wild as nature, and our earth is our matrilineal blessing and moonlighting psyche; it is our medicine, our bones, our roots.
6) XITHINIX PANGEA, 2012
A performative sculpture in collaboration with Matt Stone during the POWERPLAY outdoor sculpture park in Bridgehampton, Long Island. Clad in scraps of Stone’s astro-psychedelic aesthetic, the Go! Push Pops neo-tribal clan of three engaged in ritualistic behaviors with paint blasters around a wooden structural totem fashioned by Stone. From primal impulse to futuristic galactica, Xithinix Pangea spoke to notions of territory, belonging and clan within the collective psychic terrain of a new world artist economy.
7) SISTERSPINDERELLA, 2012
A Go! Push Pops performative sculpture in collaboration with Chilean artist Maria Jose Duran during the Savoir-Faire Salon at Soho20 Gallery in Chelsea. SistersSpinderella was part sculpture, part ritual, part jig. The performance took center stage against Duran’s web-like installation, an artist whose textile based sculptures and site-specific installations explore libidinal experiences with material and its cycles of transformation. The performance invoked the Native American Spider Woman Creatrix “Grandmother of the Sun” (characteristic of the 1970s feminist Spider Woman Theater Collective, an historic and contemporary voice for indigenous women and Feminist Art) as well as the healing trance dance known as Tarantella, a modern conception of the Baccantian dance Pizzica Tarantata (“the bite of the spider tarantula” also called “bite of love”). The Tarantata’s inception occurred while wild women followers of Bacchantes – Roman God of intoxication – become abandoned to their physical natures, spinning and stomping their way free of repressed sexual energy.
8) BAD BITCHES, 2013
A Go! Push Pops collaboration with artist Michelle Marie Charles during the Brooklyn Artists Ball, Brooklyn Museum. Quoting the work of Mickalene Thomas, who had her solo show up at the museum during this time, Bad Bitches aimed to harmonize Thomas’s glitzy 1970s “Black Power” aesthetic with our own hip hop feminism meets riot grrl swag. Dressed in homo-thug drag, Go! Push Pops wielded handmade cardboard and glitter genitalia, faux facial hair, and rolled up real slow a in sweet cardboard low-rider bedecked with ample jewel-gems. A sculptural Jamaican sound-system designed for the ball by artist Luis Gispert framed our performance. Dotting the horizon of our ratchet candy dreamscape was BoomBoxBoy Prince Harvey as a naked palm tree and painter Edwin Bethea behind a sequined cloud.
FELLOWSHIP PROJECT *
9) DIAMOND TRIBE, 2014
Go! Push Pops “DIAMOND TRIBE” was a participatory workshop
for NYC youth led by Push Pop Collective co-leaders Katie Cercone and Elisa Garcia de la Huerta with the female MC “Bones” during the Culture Push Fellowship for Utopian Practice in 2014. The workshop took place at the Door, where Go! Push Pops worked with the organization’s population of queer, at-risk/homeless youth. Diamond Tribe offered a pedagogical fusion of hip hop, yoga, shamanism and embodied feminism. The project emphasis was self-empowerment through creative movement and collaboration. Diamond Tribe highlighted the importance of vocalizing, gestures of power and dance as an expression of faith and self-love. The Diamond Tribe ethos foregrounded the collective and the power of community and mind-body-soul connectivity. In addition to moving, singing and dancing together Go! Push Pops offered handmade rainbow warrior talismans to each participant. The workshop included media literacy breakout sessions on reading contemporary goddess archetypes in pop culture. BONES, a female MC, instructed on the basics of rap – how one goes about telling their unique life story in rhyme. Everyone present – both workshop leaders and participants – ultimately walked away with an increased feeling of community, solidarity and gender continuity.