array(22) { [“event_type”]=> array(1) { [0]=> object(WP_Term)#2729 (10) { [“term_id”]=> int(149) [“name”]=> string(12) “Installation” [“slug”]=> string(12) “installation” [“term_group”]=> int(0) [“term_taxonomy_id”]=> int(149) [“taxonomy”]=> string(10) “event-type” [“description”]=> string(0) “” [“parent”]=> int(0) [“count”]=> int(175) [“filter”]=> string(3) “raw” } } [“location”]=> string(17) “Governor’s Island” [“other_location_name”]=> string(0) “” [“address”]=> string(0) “” [“location_notes”]=> string(0) “” [“date”]=> string(8) “20220827” [“end_date”]=> string(8) “20221030” [“time”]=> string(0) “” [“end_time”]=> string(0) “” [“time_notes”]=> string(0) “” [“artists”]=> string(12) “Eva Davidova” [“secondary_artists”]=> string(68) “Featuring MX Oops, Catherine Kirk, Vinson Fraley, Danielle McPhatter” [“listed_artists”]=> array(8) { [0]=> object(WP_Post)#2724 (24) { [“ID”]=> int(5502800) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(4246) “Like Eva Davidova’s previous works, Garden for Drowning Descendant, an interactive mixed reality work, uses the subconscious to workshop ideas. There is an ongoing exchange between dream and art in Davidova’s work; she processes the ideas for her art while sleeping, allowing new narratives to emerge. The resulting works have much in common with the somatic photoplays we generate at night: spaces that are warped and illogical, figures that are slippery and change form, symbols that are sometimes clear and otherwise elude us. Many of these elements also make the work so specifically digital, such as the way Davidova creates her stages. Existing simultaneously as a 360 VR environment and an immersive projection installation, the surroundings for us as viewers and the subjects within the work are aggressively cubic. The same landscape or architecture is recombined in different orientations to create hard-edge seams. Top and bottom are not distinct from left and right, nor are they continuous, but rather they repeat in a dizzying prism that clearly demonstrates the unreal construction of the environment. Within these chaotic scenes that performers – humans, avatars, digital objects, and audience alike – dance. In search of new movements, Davidova collaborates with performers who are given open-ended prompts which are later augmented with digital objects. For example, in one of the four scenes of Garden for Drowning Descendants subtitled Surveillance Garden, the dancers are asked to tear themselves away from something. Once inserted into the digital scenes, their bodies are placed at the edges of the digital space, and the mirroring of their actions creates a sense of the bodies pulling apart and recombining. This is juxtaposed with floating crocodiles and an avatar from whose belly a crocodile emerges. Davidova uses the VR space to invent multiple possibilities for the future, at once threatening and beautiful. In another scene, we see an aerial silks performer both upside down and rightside up as she herself flips and contorts above water rising in the interior space. At our eye level, an avatar bobs above and below the water, gasping to catch her breath. Within the VR environment, the viewer too can dip below the water and struggle, standing on tiptoes, to get above it. Like the way that smartphones have trained us to add new gestures to our movement vocabularies like swiping and pinching, Davidova asks the same of viewers. Whereas the person within the VR console controls the camera for the piece, which is then projected to the larger audience, members of the audience can interact with the elements within the projection, which is then seen by and affects the experience of the person in VR. But the rules of engagement are left intentionally unsaid; participants need to experiment in order to understand the possibilities for interaction. How can we shoo away this ferocious crocodile falling from the sky? Can we intervene amidst a field of dying sheep? Here, the audience must invent and collaborate, but, ultimately the piece poses a paradox of ecological disaster. We may desire to make change, but inevitably we end up drowned. Still, we try. Within the pandemonium of the scenes created by Davidova, of paradoxical landscapes and absurd floating animals and technology, it is the human actors who stand out: both the performers and us, the viewers. As there is a violent collapse of animals, landscape, technology, and humans, we are the ones left as actors to engender change. 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Gantt is an artist, composer and educator currently based in Troy, NY. His practice focuses on sound in virtual spaces, generative systems facilitated by idiosyncratic technology, and digital production presets as sonic readymades. He worked as a studio assistant to electronics pioneer Morton Subotnick from 2016 – ’18, and has been an active participant in the NYC creative community, presenting or performing at spaces such as Pioneer Works, Issue Project Room, Roulette, Babycastles, Silent Barn and similar, as well as abroad (IRCAM Academy, ICST Zurich, MUTEK Mexico, Synthesis Gallery, Berlin). Gantt has taught electronic and experimental composition across institutional and grassroots contexts, including Harvestworks, CUNY Brooklyn, Bard College, Sarah Lawrence, and community workshops aimed at creating equitable access to developing technologies. In Fall ’19, he joined the Games and Simulations, Art and Sciences PhD program at Rensselaer Polytechnic Institute/EMPAC, researching spatial sound, virtual reality and the experimental arts practice as a frame to refigure new possibilities for immersive media futures.” [“post_title”]=> string(16) “Matthew D. Gantt” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(15) “matthew-d-gantt” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-14 17:36:12” [“post_modified_gmt”]=> string(19) “2025-03-14 17:36:12” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5287517” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [2]=> object(WP_Post)#2612 (24) { [“ID”]=> int(5248695) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(2081) “Dafna Naphtali is a singer/instrumentalist/electronic-musician who composes/performs experimental, interactive electroacoustic music, drawing on a wide-ranging musical background in jazz, classical, rock and near-eastern music and using her custom Max/MSP programming.  She’s performed in the US, Canada, Europe, India, Russia and the Middle East, with current projects including: “Audio Chandelier” multi-channel audio works presented in US, Berlin, and Montreal, in 2020 at Harvestworks New Works residencyGovernors Island  in collaboration with metalsmith/designer Ayala Naphtali, and in July 2023 at APO-33 in Nantes, France.  Other projects include “Robotica” (music robots and voice) ; and her Audio Augmented Reality soundwalks “Walkie Talkie Dream Angles”, and “Walkie Talkie Dream Garden” site-specific interactive compositions written for the U-GRUVE AR platform for NY’s Washington Square Park, and the waterfront areas in Williamsburg Brooklyn and Hamburg Germany. Dafna’s has long-running projects in live sound-processing of voice and acoustic instruments, as her a performable “instrument”.  The current focus is on duos with acoustic instrumentalists –pianist Gordon Beeferman (CD “Pulsing Dot”), trombonist Jen Baker (Clip Mouth Unit), percussionist Luis Tabuenca (CD “Index of Refraction”), Chuck Bettis (electronics/throat – CD “Chatter Blip” and 2020 release “Microcosmopolitan”), saxophonist/multi-instrumentalist Ras Moshe, saxophonist Edith Lettner, and a longtime duo with Hans Tammen (Buchla, endangered guitar). Performing as a singer (unplugged!), Naphtali has interpreted the music of Cage, Stockhausen (Stimmung w/choreographer Daria Fain / Magic Names vocal sextet), Eisler/Brecht (Hollywood Liederbuch), and contemporary composers Joshua Fried, Shelley Hirsch, Kitty Brazelton, José Halac, Terry Riley (In C), Yotam Haber, Jonathan Bepler, she’s performed Spanish Civil War songs with the genre-transcending band Barbez, and organized “Voice Activated” public interventions for Make Music NY.” [“post_title”]=> string(14) “Dafna Naphtali” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(13) “dafna-naftali” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-14 19:40:18” [“post_modified_gmt”]=> string(19) “2025-03-14 19:40:18” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5248695” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [3]=> object(WP_Post)#2726 (24) { [“ID”]=> int(5076401) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(538) “

Sidney San Martín (a.k.a. s4y) is a computer programmer and performer based in Brooklyn, NY.
He has worked on tools for performance, live music visuals, immersive art installations, 3D virtual spaces, systems programming, electronics, and almost everything else that involves a computer. He is always looking for creative collaboration and (some) contract work. In the past, he has done full time software engineering at OkCupid, Keybase, and on Chrome for Mac at Google.

” [“post_title”]=> string(18) “Sidney San Martín” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(17) “sidney-san-martin” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-14 18:39:50” [“post_modified_gmt”]=> string(19) “2025-03-14 18:39:50” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5076401” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [4]=> object(WP_Post)#2618 (24) { [“ID”]=> int(5746953) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(65) “New York–based artist and composer, born and raised in Morocco.” [“post_title”]=> string(10) “Bergsonist” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(10) “bergsonist” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-14 19:30:41” [“post_modified_gmt”]=> string(19) “2025-03-14 19:30:41” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5746953” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [5]=> object(WP_Post)#2613 (24) { [“ID”]=> int(5520759) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(1480) “MX Oops is a multimedia performance artist and educator whose work centers hybridity, encouraging ecstatic disobedience as a path toward embodied wellness. Their vision is of a world where we can each be held in the fullness of our complexity. The party is the point of departure, a queer site of transnational Afro-diasporic imagining. Their creative practice links urban arts [breaking, house, vogue femme, rap, dj, vj, fashion], somatic studies [yoga, thai yoga massage, energy healing, sound baths], media studies, and gender studies. Through this transdisciplinary approach, their work questions whether consciousness itself is the primary medium. These mediums come together to welcome party people into a lush world of queer becoming. Their work has been supported by the Jerome Foundation, National Performance Network, Lower Manhattan Cultural Council, Dixon Place Dance Commission, Research Foundation CUNY. Residencies include: Dance Theater Workshop Studio Series, CultureHub NYC Resident Artist, Ammerman Center for Art and Technology, Henan Normal University, Djerassi Resident Artists Program, Barnard College, University of Florida, and Old Dominion University. Their work has been presented at Abrons Art Center, The Box, American Realness, Witte de Witte Contemporary Art Center, Katherine E. Nash Gallery, Leslie Lohman Museum of Art Gala, Socrates Sculpture Park Benefit, and the GoDown Center in Nairobi Kenya, as a Cultural Envoy of the US State Department.” [“post_title”]=> string(7) “MX Oops” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(9) “mx-oops-2” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-14 19:26:45” [“post_modified_gmt”]=> string(19) “2025-03-14 19:26:45” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5520759” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [6]=> object(WP_Post)#2609 (24) { [“ID”]=> int(5847798) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(1116) “Catherine Kirk is a performing artist from Dallas, Texas. She cultivated her passion for dance at Booker T. Washington High School for the Performing and Visual Arts before graduating from New York University Tisch School of the Arts with a B.F.A. Catherine has completed programs with Springboard Danse Montreal, Movement Invention Project, San Francisco Conservatory of Dance, and the Gaga Intensive in Tel Aviv where she performed works by Fernando Melo, Sharon Eyal, Ohad Naharin, Andrea Miller, and Robert Battle. Since then, Catherine has worked and performed with Helen Simoneau Danse, UNA Productions, Burr Johnson, and Jasmine Hearn. In 2013, Catherine gained her yoga certification through The Perri Institute for Mind and Body and became a member of Kyle Abraham’s dance company, A.I.M where she continues to perform and work as their Education and Marketing Associate. Catherine sustains a teaching yoga practice, dabbles in photography, continues to dedicate her time off stage in arts administration, and lives in her artistic practice through her ancestry, her faith, and her hope to remain curious.” [“post_title”]=> string(14) “Catherine Kirk” [“post_excerpt”]=> string(0) “” [“post_status”]=> string(7) “publish” [“comment_status”]=> string(6) “closed” [“ping_status”]=> string(6) “closed” [“post_password”]=> string(0) “” [“post_name”]=> string(14) “catherine-kirk” [“to_ping”]=> string(0) “” [“pinged”]=> string(0) “” [“post_modified”]=> string(19) “2025-03-14 19:34:09” [“post_modified_gmt”]=> string(19) “2025-03-14 19:34:09” [“post_content_filtered”]=> string(0) “” [“post_parent”]=> int(0) [“guid”]=> string(54) “http://137.184.72.135/?post_type=artist&p=5847798” [“menu_order”]=> int(0) [“post_type”]=> string(6) “artist” [“post_mime_type”]=> string(0) “” [“comment_count”]=> string(1) “0” [“filter”]=> string(3) “raw” } [7]=> object(WP_Post)#2725 (24) { [“ID”]=> int(5496154) [“post_author”]=> string(1) “3” [“post_date”]=> string(19) “2025-01-21 18:47:00” [“post_date_gmt”]=> string(19) “2025-01-21 18:47:00” [“post_content”]=> string(878) “Vinson Fraley is a New York City based multimedia artist. He was born in Statesville, North Carolina and raised in Atlanta, Georgia. He began his formal training in voice and drama at DeKalb School of the Arts. He started dancing at the age of 14 at DanceMakers of Atlanta. Fraley received his BFA in dance from NYU Tisch in 2015. During his final year of college he became a member of Kyle Abraham’s A.I.M (Abraham.In.Motion) and later joined the Bill T. Jones/Arnie Zane Company in 2017. 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