As of Fall 2020, I am a PhD Candidate at CUNY Graduate Center in Theatre and Performance Studies
January 2021: Heidegger’s Indiana as part of The Exponential Festival, full video screening/premiere January 28
February 26, 2021: Ayana and Tseday’s Variety Show as part of their project at Ortega y Gassett Projects, 7pm EST link in Instagram bios @tsedaye, @ayana.m.evans, @oygprojects
e-mail: esthermneff [at] gmail.com or panoplylab [at] gmail.com or eneff [at] gradcenter.cuny.edu
I situate dialectical/discursive theatrics, theoretics, and economics, materialize social, sonic, and organizational compositions, chart humxn movement(s) and mentalities, and practice modes of collective and experimental philosophy, especially focusing on how value(s) and ethics become (inter)(re)activities.
BIO TYPE INFO/ART CONTEXTS
Esther Neff is the founder of Panoply Performance Laboratory (PPL), a thinktank and collaborative entity generating operas of operations, performance of and as theory, social research projects, and discursive social situations such as conferences, thinktanks, symposia, meetings, festivals, exhibitions, workshops, and tours. PPL operates as work by Neff and collaborators and was a public lab site in Brooklyn, NY, 2012-2018.
Neff is also a theorist and researcher whose texts have appeared in journals, handbooks, and essay collections (Routledge Companion to Performance Philosophy written with Yelena Gluzman, Gender is Not a Prophecy Palgrave Macmillan handbook, essay collections 7 Invitations, States of Wake, journals/magazines/online New Music Yearbook, cultbytes, culturebot, CAESURA, Peri0d, PAJ, to name a few…). She is the co-founder of MARSH (Materializing & Activating Radical Social Habitus) in St. Louis, organizer of PERFORMANCY FORUM, and instigator of Brooklyn International Performance Art Foundation. Neff has also worked as a member of Feminist Art Group (FAG), Social Health Performance Club, and No Wave Performance Task Force (among other extant and extinct collectives). Frequent collaborators include composer/digital artist Brian McCorkle (2004-2017 as co-director of PPL), Kaia Gilje (since 2014), Leili Huzaibah (since 2013), Maria Hupfield, Anja Ibsch, Teena Lange, IV Castellanos, Lindsey Drury (drearysomebody), Ayana Evans, Elizabeth Lamb and april vendetta (human trash dump), Edward G Sharp (future death toll), Valerie Kuehne, and many others.
Past and ongoing performance art work, operas, theoretical practices, and organizational projects have interfaced with and been supported by various institutions and organizations such as INVERSE (San Luis Obispo CA/Fayetteville AK, The Momentary), Lower Manhattan Cultural Council (LMCC Swing Space), Brooklyn Arts Council, New York Foundation for the Arts (fiscal sponsorship), LaGuardia Performing Arts Center (LPAC LAB residency), University Settlement (residency), chashama (residency at 42nd Street, various spaces and situations), Chance House residency at John Cage Memorial Park, Culture Push (Honorary Fellowship for Utopian Practices with Yelena Gluzman), Foundation for Contemporary Arts (Emergency Grant) etc. Neff’s “performance art” (solo and in collaboration) has been involved in festivals including Experimental Action (Houston), WAKE (Folkestone, UK), Rapid Pulse (Chicago), Tempting Failure (London, UK), Art in Odd Places (NYC), Pittsburgh Performance Art Festival, Month of Performance Art Berlin, ITINERANT (NYC), and Hitparaden (Copenhagen, DK). Neff/PPL’s work has also been performed at/realized through/materialized in the context(s) of: Dixon Place, Abrons Arts Center, ISSUE Project Room, The New Museum, JACK, ABC No Rio, Flux Factory, Glasshouse, Danspace, Moynihan Station, Judson Church, Gathering of the Tribes, Bronx Museum, Grace Exhibition Space, IV Soldiers, English Kills, The Kitchen (to name a few in NYC), as well as [performance s p a c e] in London, Gruentaler9, HOCHHAUS, BLO Atelier, Theater ACUD, KuLe Theater and elsewhere in Berlin, Galerie KUB in Leipzig, Michigan Institute for Contemporary Art (Lansing, MI), Vox Populi (Philadelphia), No Nation (Chicago), Public Space 1 (Omaha), Spread Art (Detroit), University of Kentucky, Ohio State University, on Spectacle Island in Boston Harbor, and across and through many “non art” sites (the street, libraries, banks, a baseball diamond, a bowling alley, gas stations, etc).
“Solo shows” and larger-scale socially-devised opera “productions” (“operas of operations”/”social opera-tion”) such as Heidegger’s Indiana (2020-2021), PROTAGONY (2019-2020), Embarrassed of the Whole (2015-2017), Any Size Mirror is a Dictator (2013-2015 with Lindsey Drury), NATURE FETISH (2012), The Transformational Grammar of the Institutional Glorybowl Trilogy (2008, 2010, 2011-2014), You’re A Big Boy Now OR Rauschenberg Ist Toedlich (2013-2014), The Silviculture Museum (2009) On the Cranial Nerves of Barbarians (2008) tend to be process-based and unfold over the course of several years. These operas-of-operations and social opera-tions have been performed at Grace Exhibition Space, Momenta Art, the cell, Salisbury University, Vital Joint, the Brick Theater (etc etc) as well as through processes, workshops, and other operations on tour/on the road (see Relational Marches Marooning and (MI)Rage ) and in different contexts and situations like the MAD Performance Philosophy conference, the Curating Performance Art as Artistic Practice conference in Berlin, during an exchange with Petrichor through the School of the Museum of Fine Arts, as a Visiting Artist workshop at MassArt, as part of the School of Making Thinking’s Words and […] conference, as part of youth programming at the public library in Three Rivers, Michigan, via operation as a band, and as experimental philosophy research.