Artist @sassyli IG takeover for @performance_in_flux Follow Hongxi Li to find out more about her art practice. Sandcastle, 2024 Live Performance at The Stage Shoreditch, hosted by @nevengallery The performance took place at a distinctive off-site location: The Stage Shoreditch, a mixed-use residential and commercial development still under construction. Through her fictional persona, Jolene, Li delves into themes of land possession and urbanization. As Jolene shapes soil into a miniature cityscape, her repetitive actions evoke both a child’s sandcastle-building and the mechanized processes of mass urban development, marked by replication and standardization. Sandcastle convolutes the human impulse to expand, questioning notions of progress in contemporary society and resonating with my memories of urbanization in my home country China over recent decades. Performed by Hongxi Li and Sangyoon Chung Choreography associated by Sarah Daukes Photography by Dominique Cro

Artist @sassyli IG takeover for @performance_in_flux QUANTA, 2024 Live Performance at @royalcollegeofart QUANTA, named after “quantum” which signifies the smallest unit of energy, explores the collective forces that shape power.The sculpture combines elements of watchtowers, monuments, and stages. Its aesthetic is influenced by communist architecture and WWII monuments, reflecting the impact of communist ideology on Chinese heritage. The monumental sculpture is activated through a series of silent performances. In these, Li’s fictional character Jolene stands at the center of the power structure, gazing at the audience, creating a dynamic of hierarchy and surveillance. Performed by Hongxi Li, Minghao Sun, Byungkeun Min and Seongjun Kim Choreography associated by Sarah Daukes Photography by Corey Bartle Sanderson

@performance_in_flux is thrilled to present an IG takeover featuring the work of artist @sassyli Hongxi Li (b. 1996, Xiamen, China) explores human behaviour and societal structures through sculpture and performance, focusing on the confluence of corporate influence, power dynamics, and emotional discomfort. Her work compounds capitalist critique with humour—manifested through instances of inefficiency, repetition and failure —to examine the experience of individuality within broader social and economic systems. This inquiry is fuelled  by her dual perspective as an East Asian woman living in the West, her Chinese identity and migrant experience both contributing to an interest in “in-betweenness.” In her performances, Li embodies Jolene, a character dressed in corporate attire and formal hairstyle. Jolene’s non-specific yet professional uniform sees the character embody various positions of authority across Li’s live works, from schoolmistress to receptionist to surveillant, with Li seeking to embody and in turn satirise the institutions of power that her sculptural work seeks to question. YES YES YES, 2023-2024 Live Performance at @bowarts The performance probes the intricate dynamics of control, rebellion, and the cyclical nature of violence inherent within societal constructs. The project rooted in her personal experiences, particularly childhood trauma stemming from a school incident in China, the performance transcend individual narratives to delve into broader themes of power dynamics and violence. Performed by Hongxi Li Photography by Alessandro Mariscalco

@performance_in_flux presents an Instagram Takeover by artist @richie666 Make sure to follow Richard’s amazing work 🔥🔥 Etherite Throne(Fallen from the Astral Temple) 2021 48 x 40 x 94 This piece was constructed after researching the Coronation Chair of England among other historical thrones. I was interested in the mystical elements of thrones, of spirits entering the body, and the assertion of authority. I set out to construct my own throne, for the creation of personal ritual and authority over my own domain. recycled 3/4” birch, smoked plexiglass, plaster cast demonic faces taken from a 100 year old chair, antique oiled chain, LED, gas lit torches, plexiglass sanded into a pattern, resin cast to the shape of flames, Orange Crush 35, celestial 10 in. speakers Invoking the Black Moon {Depraved in Spiritual Evil} 2022 - 2023 74” x 24” x 40” Birch plywood stained black and layered with resin and suede, black wax cast into the figures of the Virgin Mary, Jesus Christ, and St Anthony, black frankincense, cold casted steel fashioned after a medieval sconce and filled with black magic candles, 12 speakers fitted inside the dome to represent the eyes of a biblically accurate angel, chains of different links suspended, a coin and several small objects cast in pewter representing the electrical signal ground///earth, psychic cross inflamed with black wax, acrylic rods connecting the three towers, Peavey 20w rage procured in North Carolina and brought back to Florida, a gothic carved pedal board which was dipped in liquid rubber, a carved magical circle spawned to resemble a crown of thorns for myself to stand in during ritual, BOSS pedals painted and named such as Ouroborus, Visions of Ezekiel, and Echo Chambers.

@richie666 Instagram Takeover for @performance_in_flux Two Hunters {and the echos of the past reverberate through the future} 2023 - 2024 46” x 42” x 75” Boars skulls, smoked plexiglass, Florida wildflowers, ¾” plywood, mirror, resin cast of boars hooves, small screens filled with the eternal energy of burning flames, hand turned wooden bowl, pairs of 10” & 12” speakers, resin cast of St Hubert (the patron saint of hunting), glass jars, charged liquids, lasercut plexi, expanding foam, acrylic rods and bars, sea salt, frankincense, charcoal, 20w amp heads, ¼” input cables, handmade paper, 4 praying black wax figures, suede, drawer pulls & slides, and epoxy clay.    In October of last year I set out with a close friend of mine to hunt wild boar in central florida. These boar, a non native species, were introduced to the state by conquistadors over four hundred years ago. Their resilience and adaptivity have allowed them to thrive over the landscape, becoming a burden to agriculture and local species. What does it mean to be an alien in an alien landscape, and how long before one belongs. …..in the marsh and shrub we caught two that day, returning to our artificial city, feeding our friends and family for days with our bounty. This piece is a ritualized altar, meditating on our place and time in this constructed reality. It was activated on April 20, 2024 in a subterranean space beneath the limestone of our city.

@performance_in_flux is thrilled to present an IG takeover featuring the work of artist @richie666 Richard Moreno is a sculptor/performance artist from Miami, Florida. His work is involved with elements of Distortion, finding truth among warped and bent signals. For years he has been building functional amplifying sculptures, firmly believing in the magickal power of sound and music to connect us. His work encompasses chambers housing specially fitted speakers that immerse various objects in sound. These objects hold sentimental value, generously given by close family or friends, resonating in unique ways. From cherished trinkets and family heirlooms to plants gathered from special places and remnants from past performances, they all find their place in his work. Each piece undergoes multiple performances, accompanied by numerous compositions, as he strives to add layers of significance and evoke a profound visceral ambiance. Title: From the Depths I have Cried to Thee 2023 96” x 96” x 174” ¾” ply, plexiglass, silver and black enamel, pvc pipe, expanding foam, red LED, various light bulbs, alligator spine found in the everglades, various plant life (coneflower, and baby’s breath that was scavenged with my wife) chain, epoxy clay, 30 watt Soldano micro head, two 10” celestion speakers, smoke machine, frankincense oil “From the Depths I Have Cried to Thee” was a ritualized altar, its intention was to force the hand of chance and influence our collective reality. Praise was uttered through stringed instruments at Dusk, and the gateway was opened.

@performance_in_flux presents the work of artist @nuevozoologiquemexicano @rosa.landabur NUEVO ZOOLOGIQUE MEXICANO The piece is a scenic research based on the human zoos created at the Jardin Zoologique d’Accilimatation in Paris at the end of the XIXth century. It was an amusement park where several people were kidnapped and made slaves to the curiosity and perversity of the visitors. It shows how the exotic and otherness are configured and constructed through vision as an exercise in power and superiority; it also shows how identity is constructed by affirming our difference from what we see: what I see is not me. The monstrous, the indigenous, fixes parameters of normality and racial superiority within colonial logics of power. The coloniser perceives himself as superior, with the authority to enunciate and define what otherness is. This work moves between the fields of performance, dance, theatre and museographic exhibition. It is a power device that creates a cross of the senses and allows reflection around the questions installed on the bodies. It will allow the spectator to exercise his power by activating the dancer’s performance through the music to enjoy one of the folkloric dances through a perfect, exotic and beautiful interpretation. How is the exotic used for entertainment and identity construction? How does the state exercise power by defining certain practices as identitarian, patriotic and folkloric? What are the unconscious colonial logics and behaviours of citizens? How do we change with the presence of a policeman? What does seeing the other do to identity? Who is the other? CREDITS: Creation and Concept / Scenic Direction / Original Idea and Research: Rosa Landabur @rosa.landabur Performance / Research / Creation: Alberto Montes @montes_zarate92 Performance / Musical Selection: Rolando Hernández @erreachegee Scenic Design: Aurelio Palomino @aureliopalomino Assistant of production and staging: Alejandro Mancera Production: Landabur&Cía. Photos: PQ 2023, Prague - Anna Benhakova, David Kumermann, Jakub Hrab Festival Feyentun, Chile - Marlene Echeverría Video: Festival Feyentun, Chile - Leonardo Toro

Artist @nuevozoologiquemexicano @rosa.landabur Instagram Takeover for @performance_in_flux NUEVO ZOOLOGIQUE MEXICANO The exotic, the different, what bewitches us, the diverse, what catches the sight, it exposes to the curious eye, from the powerful, the naive, the expert, the perverse, the ignorant, the citizen. A display cabinet, a zoo, a power device where a mexican folkloric dancer body is exhibited, actioned, and breached by the person who is looking. The expertise concentrates and displays from the cosmovision of a territory to a body through its own movement. NUEVO ZOOLOGIQUE MEXICANO is an interactive performance that reflects about identity, otherness, colonialism and contemporary folklorization. Through the crossing between Human Zoos (Happening during the XIXth century in Europe) and the current Mexican Folkloric Dance. A work that moves around performance, dance, theater and museographic exhibition. A critique and reflection on folklorization and exoticization of the subaltern world. CREDITS: Creation and Concept / Scenic Direction / Original Idea and Research: Rosa Landabur @rosa.landabur Performance / Research / Creation: Alberto Montes @montes_zarate92 Performance / Musical Selection: Rolando Hernández @erreachegee Scenic Design: Aurelio Palomino @aureliopalomino Assistant of production and staging: Alejandro Mancera Production: Landabur&Cía. Photos: 1. PQ 2023, Prague - Anna Benhakova 2. Danza Unam, México - Azul Carazo 3. Encuentro Emergentes, España - Aurelio Palomino 4. Danza Unam, México - Azul Carazo 5. Museo de Arte Moderno, México - Moisés Falcon 6. Danza Unam, México - Azul Carazo 7. Performance Online Festival Feyentun, Chile - Santiago Guerrero 8. Ciudad de México - Rosa Landabur 9. Danza Unam, México - Rosa Landabur Video: Axelle Aurora, Azul Carrazo

@performance_in_flux is thrilled to present an IG takeover featuring the work of artist @rosa.landabur @nuevozoologiquemexicano Rosa Landabur is a Chilean multidisciplinary performing artist living in Mexico. She is a creator, scenic director, actress, teacher and theatre maker. Her artistic search is focused on the rescue of unofficial stories of peripheral and dissident territories, promoting spaces for dialogue around history and identity construction; delving into issues of colonialism, homeland, race, syncretism, abandonment, questioning truth and morality. She explores visuality, the body, space and atmospheres as materiality of the scenic story and configuration of memory and imaginary. Her creations are about social symptoms expressed on stage, using different languages: theater, performance, dance, installation, expanded arts. She collaborates in various projects of theatre, dance, performance, sound art, curatorial and cultural management in Chile, Mexico and France. She has presented her work in Museo Chileno de Arte Precolombino, Museo de Arte Moderno de México MAM, National Gallery Prague, Sala Miguel Covarrubias de Danza Unam, Museo Nacional de la Máscara - México. Museo Universitario del Chopo - México, CCEMx, soon in Museo de Arte de Baja California Sur. She is artistic director of Landabur&Cia (MX). 1. NUEVO ZOOLOGIQUE MEXICANO- Interactive performance Photo: Darío Rivera 2. PRÁCTICAS DE COMUNICACIÓN CON LAS PLANTAS Photo: archive of the Vegetable Dances project. 3. ALCÉRRECA - Tragedia en el Altiplano. Play inspired by the case of the Aymara pastor Gabriela Blas Blas / in collaboration with Javiera Fernández. Photo: Francisco Herrera 4. ALCÉRRECA - Tragedia en el Altiplano. Play inspired by the case of the Aymara pastor Gabriela Blas Blas / in collaboration with Javiera Fernández Photo: Francisco Herrera 5. Video of the project “ALCÉRRECA - Tragedia en el Altiplano.” Video editing: Santiago Ramírez 6. 7. 8. 9. M. A. Héroe de Peñablanca. Play inspired by the case of the Peñablanca seer, Miguel Angel Poblete / dramaturgy of Alejandra Moffat 10. NUEVO ZOOLOGIQUE MEXICANO- Interactive performance. Photo: Arturo Soto

Artist @oldoerreve takeover for @performance_in_flux HOLOMASTIGOT, 2024 Erréve’s first solo installation comes to life with a durational performance that explores the dichotomy between the ancestral physical being and the futuristic digital avatar, as well as its connections between past, present and future. A mix of avant-garde, sci-fi, body horror, high fashion and techno. Commissioned by CalArts REDCAT/CAP UCLA and Laboratorio Arte Alameda. Sound design by Torina Moreno Video by Gabino Palacios ——— @artealameda, @calartsredcat, @torinamoreno, @ukaanalil, @nenukaviral, @theelabrand, @sntgvvs, @nosystem, @gabs_____palacios

Artist @oldoerreve takeover for @performance_in_flux HOLOMASTIGOT, 2024 [holo- gr. ‘all’ + mastigo- gr. ‘filament’, ‘flagellum’] - (which has flagella all over the surface of its body), embodies a deity evolved beyond the 21st century that manifests itself in a ritual/digital intervention of holographic lasers and 3D printed cyborg prostheses implanted with human hair in real time. Commissioned by CalArts REDCAT/CAP UCLA and Laboratorio Arte Alameda. Photos by Gabino Palacios ——— @artealameda, @calartsredcat, @torinamoreno, @ukaanalil, @nenukaviral, @theelabrand, @sntgvvs, @nosystem, @gabs___palacios

@performance_in_flux is thrilled to present an IG takeover featuring the work of artist @oldoerreve Óldo Erréve is a visual producer and self-taught multimedia artist. His work explores the union of art and technology in a post-organic context, the dichotomy between the real being and the digital avatar, as well as trans-humanism and eco-digitalism as a manifesto for otherworldly audiovisual responses in virtual and physical performance format. Erréve has been granted for his interdisciplinary creation with new technologies by LACMA Art + Technology Lab, CalArts REDCAT/CAP UCLA in Los Angeles, Laboratorio Arte Alameda in México City and Fabra i Coats in Barcelona. Images courtesy of the artist. Digital self portraits intervened with 3D and AI.

Artist @eyibra Instagram takeover for @performance_in_flux ‘Mi Piel No Vale Mas/Skin Value’. In her book Terrorist Assemblages (2007), Jasbir Puar defines the concept of “homonationalism” as the growing acceptance of LGBT rights by nations, primarily Western ones, along with the complicity of lesbian, gay, bisexual, and transgender (LGBT) individuals in promoting nationalist policies. This concept emerged in the context of the “war on terror” in the United States, where the country positioned itself as exceptionally friendly to LGBT rights, in contrast to the alleged homophobia of Muslim countries. This narrative has not diminished but has worsened over time, portraying the Arab-Muslim world and anyone who does not conform to white hegemony as a “terrorist,” “the other,” or “the suspect.” This performance/action piece is a manifestation against neocolonialism, the U.S. support of genocide, and its treatment of non-white people globally. As a white person with a U.S. passport, I refuse to be complicit in this evil, ignorance, and destruction. I reject homonationalism and the indoctrination that has even permeated queer communities of the global North. The barbed wire represents a patriarchy that oppresses, tightening more and more on the rights of non-white people, LGBTQ people, and women. IMPLEMENTATION I wrap my bare torso in barbed wire, tightened like a corset. By piercing, tearing, and damaging my skin, I challenge and reject the claim of white exceptionalism. With each breath, the wire tightens further, gradually breaking the skin over time.

Artist @eyibra Instagram takeover for @performance_in_flux Co-commissioned by Redcat/Calarts LA and Laboratorio de Arte Alameda, DADDY is a 4-hour durational performance delving into today’s escalating militarization, the exploitation of bodies in senseless wars, and global conflicts fueled by late-stage capitalism. DADDY serves as a critique of all neocolonial powers, besieging human bodies, particularly those marginalized and deemed expendable in futile wars. Physically and spatially manifesting these themes, the performance is grounded in extensive research on United States’ military practices. EYIBRA, embodying a muscular yet alienated body coerced into military servitude for capitalism, executes militaristic choreographies to exhaustion. Here, the roles are reversed, with EYIBRA being surveilled, threatened, and dominated by the very type of bodies most often exploited by the United States government, who perform an intense rifle-drill sequence with AK47s, to the backdrop of heavy latincore and techno music.

@performance_in_flux is thrilled to present an IG takeover featuring the work of artist @eyibra EYIBRA (fka Abraham Brody) is a multidisciplinary artist who works with performance, video art, painting and sound. His works explore themes of gender, sexuality, identity and power dynamics, focusing especially on the decolonial, the anti-patriarchal and the human body as a vehicle of transformation. This has led to collaborations with artists such as Marina Abramovic and Lukas Avendaño (a muxe artist from the Zapotec Nation of Mexico). Currently with a solo exhibition ‘TRASHUMANCIA’, at Laboratorio de Arte Alameda Mexico City, EYIBRA is a member of the Mexico-based MUXX collective, which received the Los Angeles County Museum of Art’s Art + Technology Lab Grant in 2022. He has presented work at venues such as the Barbican Center London, Kampnagel Hamburg, Berdache Festival Barcelona, HyperHouse /MMMAD Madrid, Fondation Beyeler Basel, Pace Gallery, LA Dance Project, François Ghebaly Gallery, BRIC Arts New York, National Sawdust NYC, Festival Ceremonia México, Ex Teresa Arte Actual México and Teatro de la Ciudad de México, among others.

Artist @annatingmoller Instagram takeover for @performance_in_flux ”Eight sticks of incense, placed in a semicircle were lit and then quickly extinguished, each put out by a breath. With every exhalation, the mass of flesh swelled, as if inhaling. Wet mounds grew to twice their size, then collapsed when running out of breath. An intervention with symbiotic kinship, a work that can only breathe when its creator does.” -Aida Ylanan Whip and Tongue 2024 Performance Title: Whip and Tongue, 2024 Performance, Tutu Gallery (US) Length: 13 min Material: Kombucha, sisal, textile, glass, chewing gum Photographer: Elisheva Gavra

Artist @annatingmoller Instagram takeover for @performance_in_flux My work examines allegories of kombucha as a mother, offspring, caregiver, contaminant, and parasite, emphasizing the necessity of continuous care. It delves into the symbolic meaning of mothering through Kristeva’s concepts of abjection, as well as the semiotic and symbolic dimensions, which are essential for understanding the formation of the self. This performance addresses these concepts rooted in linguistic and bodily experiences during the early stages of life, highlighting the separation between the self and the Other. A process that begins in infancy and is intricately linked to the mother. Title: in progress Year: 2024 Performance, Lower Manhattan Cultural Council (US) Length: 12 min Material: Kombucha, silk lining, hosiery, water, shampoo, green food colour Photographer: Elisheva Gavra

@performance_in_flux is thrilled to present an IG takeover featuring the work of artist @annatingmoller I am an interdisciplinary installation artist based in New York City, and my work explores the intersections of materiality, transformation, and bodily processes. I often incorporate kombucha cultures to create ephemeral sculpture/performance that challenge conventional notions of life, death, and lineage. Focusing on themes such as the sexualized and grotesque, my work critiques societal constructs, particularly the fetishization of the Other. My work embraces collaboration and performance, integrating sound, movement, and space to create immersive, dynamic experiences that evolve over time. Title: in progress Year: 2024 Performance, Lower Manhattan Cultural Council (US) Length: 12 min Material: Kombucha, silk lining, hosiery, water, shampoo, green food colour Photographer: Elisheva Gavra

@furies.collective Instagram takeover for @performance_in_flux The FURIES COLLECTIVE comprises nine female and non-binary artists who each offer different meditations towards their understanding of the creative act. From the politically adjacent installations of Maria Helena Toscano, Suni Mullen, ATHENA Mothership and Elinor Henry; the existentialist reflections of spatial awareness posed by Amanda Cornish, Lujane Pagganwala and Sara Emil Christova, and the trance based investigations of pre- and post-patriarchal dualism by Margot Wilson, the FURIES’ collective quest is envisioning a non-binary, non-polemic world; to the affective curation of Hannah Dowling who aims to create a space which carries the potential to engage transformative viewership. Through experimental meditative practices, performance, and theatrical improvisation, we present art as an active force, always in the process of emerging, never static. 1. FURIES COLLECTIVE, ‘One Extended Meditation’ (2024) performance, meditation, multimedia experimental creation; 3h. @furies.collective 2. Maria Helena Toscano, ‘América’ (2024) video still. @m.h.toscano 3. Suni Mullen, ‘Referenced Image: Obstructed 3D scan of SUNI MULLEN in her London studio’ (2024). @sunimullen 4. ATHENA Mothership, <快速講話!TALK FAST! 빨리 말해! 早口で話す! > (2023) live performance, video projection, 2min 8s (on stage with XL, Enzo, Margot, Luki, Sara). @athenamothership 5. Elinor Henry, ‘Held’ (2023) multimedia installation, performance. @elinor.henry 6. Amanda Cornish, ‘Murmurings of No Man’s Land’ (2024) Detail. 3min41s. Six Channel Looping. Steel Castings, Amplifiers, Exciters, Speaker Cable, Electrical Tape. @amandacornishstudio 7. Lujane Pagganwala, ‘It’s your head over mine’ (2024) performance; 4h. @lujane.pagganwala 8.Sara Christova, ‘a ghost that haunts the night’ (2023) audiovisual performance; 6min. @chromosapiens 9. Margot Wilson, ‘Crossing: Death the Horizontal’ (2024) multimedia sculpture. @margot_wilson_art 10. Hannah Dowling, quote. @hannah__dowling

@furies.collective Instagram takeover for @performance_in_flux "This extended meditation session, conducted without setting specific goals, unfolds sensorially within a state of deep immersion, generating spontaneous connections between the various artists. Each artist’s movement organically shifts according to these connections." Sung Hoon Song 'One Extended Meditation' teaser 2024 performance, meditation, multimedia experimental action; featuring Furies Collective members ATHENA Mothership, Amanda Cornish, Hannah Dowling, Sara Emil, Elinor Henry, Lujane Pagganwala, Maria Helena Toscano, and led by Margot Wilson. Videography: Sung Hoon Song @sung_hoooon Photography: James Merrell @jamesmerrellphotography