STATEMENT (as of 04/2017)
I am not a specialized, efficient, or productive function of social reproduction or a representation/representative of capital(ist) value(s). I am relatively medium-sized animal which has not been properly domesticated. Sure, I know how to use Microsoft Excel and make a blueberry pie. Materializing meaningfulness, however, is a social operation, requiring some marking motions as intentional cognizing, semblative enaction of ideals, and coping tactics within and as affective chaos.
BIO TYPE INFO/ART CONTEXTS
Esther Neff is the founder of Panoply Performance Laboratory (PPL), a thinktank and collaborative entity generating performances-as-art, situations, operas of operations, performance of and as theory, social research projects, and discursive social settings such as conferences, symposia, meetings, festivals, exhibitions, and shows. PPL operates as work by Neff and collaborators (including PPL co-director Brian McCorkle and PPL resident artist Kaia Gilje) and as a public lab site in Brooklyn, NY.
Neff is the organizer of PERFORMANCY FORUM and a member of Feminist Art Group (FAG), Social Health Performance Club, and No Wave Performance Task Force. Neff is also the “initiator” of the Brooklyn International Performance Art Foundation (BIPAF)
Performance art work, operas, theoretical practices, and organizational projects have interfaced with and been supported by various institutions and organizations such as Lower Manhattan Cultural Council (LMCC Swing Space), Brooklyn Arts Council (various grants), 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), Culture Push (Honorary Fellowship for Utopian Practices with Yelena Gluzman), Foundation for Contemporary Arts (Emergency Grant), and others. Neff’s performance art (solo and in collaboration with Brian McCorkle and Kaia Gilje) has been involved in festivals such as Rapid Pulse (Chicago), INVERSE (Fayetteville, AK), Tempting Failure (London, UK), Pittsburgh Performance Art Festival, Month of Performance Art Berlin, Hitparaden (Copenhagen, DK) and performed at Dixon Place, ISSUE Project Room, The New Museum, JACK, ABC No Rio, Flux Factory, Glasshouse, Danspace, Moynihan Station, Judson Church, Gathering of the Tribes, (to name a few in NYC), as well as [performance s p a c e] in London, Gruentaler9 in Berlin, 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, MassArt, School of the Museum of Fine Arts, on Spectacle Island in Boston Harbor, and across and through many “non art” sites (the street, libraries, banks, a baseball diamond, gas stations, etc).
“Solo shows” and larger-scale socially-devised opera “productions” such as 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) have been performed at Grace Exhibition Space, Momenta Art, the cell, and the Brick Theater as well as through processes, workshops, and other operations on tour (see Relational Marches Marooning and (MI)Rage ) in many different contexts and situations.