The Art/Life Institute
KINGSTON, NY 185 Abeel Street
A Performance Art Residency, Gallery and Project Space
Video of performance works by Rocio Boliver. Her new work suggests thinking about the life of women, in that said period of their lives, and what the later part of women’s lives implies for women in our contemporary society. The new project shows the demonized “horrors” of the ephemeral passing of time, the closeness of death and how the hopelessness of the human physical state, in face of the physical deterioration, is powerfully capitalized by a capitalist system that “sells” youth and beauty. Even if this issue also affects men, in women it is substantially more troublesome. Trying to look young and not to show age, supports the standardization of imposed beauty ideals, creating bizarre models and occasionally putting lives at risk. From 1992 to date, Rocio Boliver has been involved in the current international art circuit. She began her performance career reading her porn-erotic texts. Since then, she focuses her artistic proposal in criticizing repressive burdens experienced by women. Boliver has made performances in Mexico and has taken important part in many performance festivals in Europe, Asia, North and South America. From 1994 to 2007 she worked in various theater projects, performances and contemporary art under the guidance of the prominent Mexican playwright Juan Jose Gurrola.
Multidisciplinary artist focused in political art and environment.
Chellet has worked with permaculture urban projects and rural farms, alternative communities, occupations squats, artist collectives and activists in countries like Italy, Germany, France, England, Scotland, Latvia, USA, Bolivia, Brazil and Spain.He collaborated with groups like Black Market International, La Pocha Nostra and Guillermo Gómez Peña, Erro Grupo, Non Grata, Desvio Coletivo amongst others. Now a days he works professionally in between the Americas and Europe developing permaculture and art projects.
Performance: "What's that, can we eat it?"
Money is such an strange and powerful tool, valued because we are all moved by the fact of its existence and our dependence for it. Is money real? I think food is real, it exists and we can nurture from it too. Most of times food is fake and money is real. Sometimes food can be real and money fake. I think it is all just plastic, everything is plastic now a days. This piece questions the recent food crisis in Mexico and North America which have lead to periods of complete absurdity in market prices for lime and avocado which are now seen as the new gold controlled by narco cartels.
Sheree Rose with Clara Diamond
The performance, photography and video work of Los Angeles based artists, Bob Flanagan and Sheree Rose shook, rattled and rolled across the United States in the late 1980’s beginning with “Nailed” a performance at Olio, a small space in Silverlake, Los Angeles, that was notorious for Flanagan nailing his scrotum to a board, Rose cutting into the breasts of a woman strapped to a cross. In 1992-1994. After Flanagan’s death in 1996, the documentary, “Sick: The Life and Death of Bob Flanagan: Supermasochist” won a prize at the Sundance Film Festival. Rose has continued to show her photography at international galleries. She has done a number of cutting-edge performances, including “Corpse Pose”. Rose has collaborated with English performance artist, Martin O’Brien, including “Do with Me As You Will”, “Dust to Dust”, and “If It Were the Apocalypse (I’d eat you to stay alive). November 2015 she participated with Rocio Bolivar in “Between Menopause and Old Age, Alternative Beauty” presented by theLive Art Development Agency in London. She has just returned from India, where she collaborated with Boliver at the Mornihills Performance Art Biennale.
Performance: "Nestle Death Curse", a performance in which she invokes the spirits of the universe to bring down the nestle corporation by chanting and the ritual desecration of nestle products, such as water, powdered milk, chocolate syrup and chocolate chips.using her body as the focus of the curse, she invites the audience to participate in the process of destruction.