Making an Entrance or What is Seen Ain’t Even – performance workshop with Geo Wyeth

Making an Entrance or What is Seen Ain’t Even – performance workshop with Geo Wyeth

24 September, 2021

16,17. 12. 2020, 10am – 3pm

This workshop will extend and play with the scale, threshold, and flavor of “the entrance” as a well-worn gesture of stage and screen.  We will conduct group theatrical exercises (physical and vocal), share some favorite examples of entrances from our surrounding cultures, and create our own lexicon or moves to describe and enact different styles and practices. Beginning with a critique of a “present/absent” binary, we will explore spectral modes of entrance as contextual, sensual, relational, and interdimemsional. 

Geo Wyeth (b. 1984, NYC) is an artist and educator, working in the realms of music, performance, narrative sculpture, and video. Geo have shown work at the New Museum, Stedelijk Museum Amsterdam, MoMA PS1 (Greater New York 2016), Dutch National Opera, Triangle France, Anthology Film Archives, The Kitchen, TENT (Rotterdam), Arsenic (CH), Biquini Wax (CDMX), LA MoCA, New York Live Arts, The Studio Museum in Harlem, Boston ICA, La MaMa Theatre, Human Resources, The Pyramid Club, Joe’s Pub, and many others. They are co-founder of the queer social space Tender Center (Rotterdam, NL). They have composed music for the narrative shorts Happy Birthday Marsha!, Atlantic is a Sea of Bones, Salacia, and The Personal Things (all directed by Tourmaline), as well as numerous videos of other contemporary artists. Geo currently teach at the Dutch Art Institute (DAI) and the Willem de Kooning Akademie where they focus on embodied tactics of performance, storytelling, and remembering. They live and work in Rotterdam, NL and New York.

Wyeth just came out with their record ATM FM (2020), recorded in Rotterdam, NL and released into the air through Muck Studies Dept. Muck Studies Dept. is a constellational body employing inherited diasporic/American funk and folk poetics, and techniques of investigative journalism.  The project connects mud, water, metal, gas, ass, rocks, coins, extractive industry, deep coloniality, and sensual expression of belonging to that flood.  Muck Studies Dept. is also an imaginary city agent surveying the bottom of low lying water areas, “looking to find stars out of what stinks.”  The project has appeared in many forms including public performance, video, poetry, music, and installation, with research in New Orleans, New York, and the Netherlands.