(Re)Move/(Re)Frame presents a series of performances by Brody Condon, Shana Moulton, and the collective Yemenwed. Each performance will occur at a different time and place throughout the twenty-two day duration of the exhibition. Experimental engagements with documentary materials from each performance will be visible in the CCS galleries and online. The project explores ways that recent technologies offer new points of entry into events, performances, and exhibitions. To this end, the entire project will also be documented and expanded through audience participation. (Re)Move/(Re)Frame utilizes the physical space of the CCS galleries–which is at a remove from the scenes of action themselves–to explore not only how one accesses the meaning of a performance after the fact, but also how exhibitions are performative, temporal sites, the meanings of which are themselves in a state of flux.
Brody Condon, who lives and works in NYC, creates performative situations and video installations often centered around contemporary culture’s over-identification with fantasy, traumatic memory and ritual. While referencing and modifying pop culture, historical events and the history of art itself, his work explores meanings and modes of “projection of self” into other spaces via computers and online communities, Live Action Role Playing and religious or therapeutic exercises and experiences.
Shana Moulton’s videos and performances play off of one another in ongoing series that emulate the structure of a soap opera. Moulton portrays an alter ego character who is obsessed with holistic healing and wellness products and treatments. In her fabricated fantasy world her possessions take on heightened meaning and signification as she often relates to them through acts of intimate ritual and belief, while simultaneously exposing their marketability and the inherent manipulations of their consumerist niche within particular new age communities.
Yemenwed was founded in 2006, in New York City, and currently includes: Megha Barnabas (writing, choreography), Timothy Dewit (music), Joseph Fraoli (sound design), Melissa Ip (costuming, choreography), Paul Kopkau (sculpture), Shawn Maximo (sculpture, stage design), Gloria Maximo (concept design, choreography, writing), and Jonathan Turner (video direction, animation). Yemenwed closely examines abstract visual patterns and narratives that emerge from day-to-day contemporary life. Through choreographed movement the shapes and tones of mundane domestic gestures are located and highlighted. The performers’ bodily arrangements with various domestic objects and their surrounding interior and exterior spaces are outlined and questioned. The domestic scene becomes a theatrical stage where sculptural objects and performers play equal roles and mechanized dance movements replace the conventions of dialogue and plot. Performances place emphasis on the division between performer and audience.
(Re)Move/(Re)Frame is curated by Courtney Malick as part of the requirements for the master of arts degree in curatorial studies.
Student-curated projects at CCS Bard are made possible with support from the Rebecca and Martin Eisenberg Student Exhibition Fund; the Mitzi and Warren Eisenberg Family Foundation; the Audrey and Sydney Irmas Charitable Foundation; the Board of Governors of the Center for Curatorial Studies, and by the Center’s Patrons, Supporters, and Friends. Additional support is provided by the Monique Beudert Award Fund.