Back to the Future is a provocative evening of performance art on Saturday 9/15/19 7-9pm curated by Matti Havens including: Marie Christine Katz, Felix Morelo, Coralina Rodriguez Meyer, Susannah Simpson, Joseph Sledgianowski, Furusho von Puttmakker
Local Project Art Space is located at
11-27th 44th Rd – Long Island City, NY 11101
Between 21st and 11th Street
Take E,M,G or 7 train to Court Sq
RSVP @ Eventbrite
The performance artists in Back to the Future aim to inspire thought and discourse and encourage the debate about new ways forward, ones that are progressive, inclusive and frequently surprising. They construct new visions of what may lie ahead and examine how our current technology and political ideas will affect our future. This diverse group of artists seeks to present ideas outside of the existing capitalistic and patriarchal systems that dominate the world today. They also seek to examine our chaotic present in order to envision a diverse future. These key ideas are addressed with drama, humor, satire and metaphor and allow the viewers time to contemplate the challenging ideas presented.
The cumulative affect of the artists’ perspectives and experiences form a multi-faceted idea of our collective future. A discussion of our current administration’s anti-immigrant stance and the repercussions of climate change form the core of Coralina Rodriguez Meyer’s deadpan and subversive presentation. Susannah Simpson explores the future of embodiment as relates to the growing, changing Earth, social consciousness, destruction, multiplicious revolution, technology, the future of love, and the future of sex. Concern about our collective future is a common theme that most of the performers address. Marie Christine Katz’ performance is based on sentiments shared by participants during public actions that began on the first day of the new administration. Felix Morelo confronts viewers with both performance and ephemeral chalk drawings on the street to express our hopes and anxieties for the future. Furusho von Puttkammer, as her alter-ego Anchovy, manifests our feelings of frustration through a distinct and concrete performance. Joseph Sledgianowski onsets our contemplation of these emotions and concepts with a deep and introspective distortion of time and perspective with an abstract sound performance. The accumulation of the varied approaches to performance and the broad scope of ideas presented by these adventurous artists makes for a thoroughly provocative investigation of the troubled times to come.
– Matti Wim Havens
Coralina Rodriguez Meyer’s City of Today for Feminine Urbanism (Femilia) performances are satirical reenactments of patriarchal, urban design allegory and structural erection. During the Back to the Future program, her Ethnic Ethics performance (in the form of an investment pitch proposal) will imagine a dystopian, historic fiction where children’s concentration camps are immigrant purification superstores, Poststructuralism reads as a border-crossing Palimpsest and participants can escape rising seas in weightless cities. Previous Investment Pitch Proposals imagined the City of Today for Feminine Urbanism as a 1:100,000 scale model of a woman’s body as chocolate cake to be divided and conquered by participants in the vein of Hitler’s division of the Baltic region in geographic black forest cake. Over the past decade, the City of Today for Feminine Urbanism has been performed in bank vaults, conference rooms, vacant construction sites, city parks and on the streets to reclaim the didactic as sites for political critique.
Coralina Rodriguez Meyer is a Andino-American, Brooklyn and Miami based artist who translates structural violence into minority heirlooms. Raised queer between the rural South and Caribbean; Coralina mends her indigenous, mixed-race, Latinx identity into suffragist masterplans. Coralina’s background in urban design and architecture informs her work. Her research based practice manifests in sculptural, digital, performance and social practice forms. She performs her citizenship by engaging viewers to builsd their humorous, hysteric future from a minority GPS. She began building the City of Today for Feminine Urbanism (Femilia) in 2009 to propose intimate solutions for urban scale problems. Her works are made in the lineage of her Andina ancestors as navigational tools to survive American Mythology. Manifestations of her sculptural work include IUD/IEDs scaled to the Statue of Liberty’s uterus; Building Tampons in S (Liberty), M (Chrysler), L (Empire State), XL (WTC) absorbency, and suburban Uterine Cul de Sacs with fallopian tube poolside lounges. Her most recent Cunt Quilt project transforms worn out women’s underwear into city flags at intersectional protests.
Coralina studied painting at Maryland Institute College of Art and completed her architecture BFA at Parsons The New School (2004), and Combined Media MFA at Hunter College CUNY (2013). Coralina held fellowships at the Artist’s Institute NY, SU Florence Italy and the UDK Berlin to study Nazi utopian urban design with Hito Steyerl and Gregor Schnieder. In 2012 she researched her Inca heritage at the Museo de Sitio Machu Picchu fellowship, to create works connecting the Quipu social structures to North American iconography. She has been a resident of Mildred’s Lane and the Bronx Museum AIM program. Coralina received awards from VSA Arts, the Kennedy Center, NYFA, Scholastics and Young Arts. She has been featured in the NY Times, the Guardian, London Review of Books, Village Voice, Hyperallergic, Paper Magazine, Univision, Nylon Magazine and Jezebel. Coralina’s work has been exhibited at Queens Museum, Bronx Museum, Miami Art Museum, the Smithsonian Museum International Gallery, Miami University Museum, Kunstlerhaus Brethanien Berlin, NYU Kimmel Center, Bitforms, Andrew Edlin, AIR gallery, KMAC Museum and the Corcoran.