house of flying bøøbs

“At the breast of history I sucked and pissed.”
—Jiang Qing, Nixon in China (John Adams, 1987)

House of Flying Boobs is a performance art cabaret interweaving four distinct acts and several visual and performing arts genres: opera, theatre, burlesque and contemporary dance that burrow into a bewildering range of topics: the force of capitalism in Europe’s financial and humanitarian crisis; the sexual and political agency of women from the age of myth and biblical tales to Surrealism and the Cultural Revolution; the fabrication of discourse in the artist interview format.

Featuring: Nadim Abbas, Orit Ben-Shitrit (video artist/choreographer), Rainer Ganahl, Mary Notari (activist/stage actress), Tuo Wang, Mo Zhou (theatre/opera director), among other musicians, designers, composers, and performers. Curated by Xin Wang.

More information here.

Nov 12, 2015 Thursday at Nuyorican Poets Café (7:30 pm) | 236 E 3rd St
Nov 16, 2015 Monday at Bowery Poetry Club (6:30pm) | 308 Bowery

Originally conceived and performed in 2012, AUCTIONING OFF THE GREEK DEBT negotiates the European debt crisis by creating a new financial tool—a commodity derivative—by the two most powerful entities in the EU: Germany and France. Three dancers: German, French and Greek enact an abstract financial scenario involving their respective languages. The qualities of the Greek dancer are bundled and sold as commodity derivatives by Germany and France. The performance, now re-staged with an uncanny sense of relevancy, is a set of actions that trigger a chain of responses and interweave/interfere with the cabaret’s various acts. All is told through choreographed movement, combined with language phrases spoken with an Economy of Consonants—a restricted form of communication. The performers punch a time clock to underscore the movement transactions. Dancers: Martina Potratz, Sandra Passirani and Dafni Mari.

Conceived, sound collaged and choreographed by Orit Ben-Shitrit.



the wonderful Juliane Elting (pictured below) picked me up from the airport directly to TEATRO OFICINA, where the early events of the Tropicália movement began and continue through today. In the spirit of participation, the stage is set everywhere, especially vertically, where actors and audience are invited to roam and participate as they wish:

[ bam, bam! Juliane ] demonstration

the theater has an open roof:

Tropicália began in the 60s, and it got its name from an installation created by the visual artist Hélio Oiticica. It’s pretty amazing to be in the actual space where the devouring of cultures is a daily act. In Portuguese they call it antropofagia, which means an act of cannibalizing cultures and genres to make something new. check out the MANIFESTO.

I really love this idea!!! which sits much better with me than American multiculturalism, which is a forced notion of otherness and an enforced approval of being different. Or maybe multiculturalism is just dated and irrelevant. We are all made of many things, and it is that richness that makes the world interesting. Eat it up, and spit it out! Don’t analyze.

[ TEATRO OFICINA ] street enterance
Back in NY last year, my friend Jocelyn Meade Elliott curated a show of Oiticica’s collaboration with Neville D’Almeida.

Oiticica’s Tropicália installation included plants, which are also spread around TEATRO OFICINA UZYNA UZONA. Below is the theater’s symbol, a golden anvil (for its 50th anniversary) drenched in the ecstasy of saint theresa light:
saint fernando with Cacilda Becker, the Brazilian theater diva of the 20th century:
Juliane moved here from Germany, after she was recruited by the director Ze Celso:
the director Ze Celso in a photo in the dressing room:
Freud is also in the dressing room hanging with absinth: