idleness labouritory: week in New York
Mick Douglas & Julianna Preston with collaborators
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attending – a performance installation at Everson Museum of Art Syracuse 4-8pm Thurs Sept 1st addresses the aesthetics of attentiveness that both support the institutional place of art and might be practiced by art museum visitors.
attuning – was a live audio streaming of a 24-hour durational performance 9pm Thurs Sept 1st till 9pm Fri Sept 2nd EST from Point of Contact Gallery Syracuse, transmits the human, non-human and material resonance emanating from a site-responsive collaborative event. Mick Douglas and Julieanna Preston with Kalia Zizi Barrow, Joan Farrenkopf, Coco Ke Huang, Tamara Miller, Joanna Spitzner and Ioana Georgeta Turcan.
appending – a collaborative performance within the PopUpGestureStore of 1067PacificPeople 1067 Pacific St Brooklyn New York 2-8pm Sat Sept 3rd & Sunday Sept 4th 2016 offers embodied gestural exchange encounters as traders in alternative economies of care and supplement.
The Idleness Labouritory challenges modern ideas of labor and idleness to make propositions for an aesthetic ethos of co-creative experience. The Lab develops performative projects, practices and experiences that exceed narrow constructions of idleness as unproductive and labor as productive, so as to reveal lucid, creative and critically enquiring modes of generative activity. The Idleness Labouritory plays with performative ways of questioning, exploring and attributing value in contemporary creative arts practices. Often with the contribution of collaborating participants, Lab activities perform propositional relationships to exchanges of value and potential relations amongst communities of practice, economies, material conditions and ecosystems. The Lab research seeks to generate examples of practices that posit the kind of re-orientations necessary to engage with current challenges facing living systems, including human society.
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The Idleness Labouritory week in New York residency of Mick Douglas and Julieanna Preston is kindly supported by Syracuse University College of Visual and Performing Arts, Point of Contact Gallery, Massey University and RMIT University.
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