Possible Relations

Performances Friday July 15th, 7 pm - 10 pm
Additional Hours Saturday July 16th, 2 pm - 6 pm

I remember us walking around the lake's sloping shallow bank. It's dusk, summer, the sky is swollen pink and the water is brown, a still colloid like milk. I'm thinking about sinking my hand into it up to my knuckles and imagine making no ripple at all. As we walk, our steps are followed by the plops of frogs jumping back into the water (we're both growing and our feet are bigger and louder than we remember). I ask if you want to play a game, you say no, you're annoyed and getting too old to want to play the same games as me. I say please, let’s play the story game, and you're like, ugh, okay fine, you start.

There was a girl who lived in a bubble at the bottom of the ocean. How did she get there? Well, her mother was a mermaid and her father was human, but when she was little, she didn't know her mother was a mermaid at all. She lived happily with her father near the air force base in Colorado Springs because her dad was a fighter pilot. But as she got older, she noticed strange things that set her apart from the other kids. In swim class, she could stay underwater longer than anyone else and do five backflips in a row. And one day, she looked at her knee in the bathtub and saw a patch of shiny green scales! She finally worked up the courage to ask her dad what was going on. He sighed and said to her...

I stop and look at you expectantly. You're quiet, and at first I think you're concentrating really hard on putting together the next sentence. Then it occurs to me that maybe you've decided you don't want to play after all. I nudge a rock into the water with the toe of my sneaker and wait.


M: What kinds of knowledge are even possible/what kinds of relation are possible in a first

face­to­face encounter?

E: The face­to­face encounter isn't innocent (i.e like a newborn is innocent), it's mediated by

politics, power, history. No one can present themself in a vacuum, other tangled threads get

pulled in

M: Levinas talks about the face­to­face encounter and vulnerability. Face­to­face is the grounds

for ethics (refreshing rebuttal to Hegel master/slave, in which the existence of a separate

consciousness is always a threat to one's sense of independent self)

E: Re: Levinas, the face­to­face encounter isn't about knowing another, it's about confronting

another's vulnerability via their physicality and feeling a responsibility to not harm/protect them.

The problem is that this is necessarily differential, some bodies are more vulnerable

M: How does the dragon framing inflect these problems?

E: Role­playing and negotiation, multi­register discourse (i.e, Blatheryn removes the Stone of

Dagnmar from her rucksack­­ [OOC: your character does not have the stone of Dagnmar!

You're cheating!])

M: A stage is set and archetypical characters are established to reenact tensions, affinities and

conflicts facilitated by an extra­discursive level for commentary on the rules, structure of

gameplay (In­Character vs. Out­Of­Character (OOC))

E: Riddles, myth and enigma; kitsch, the one­dimensional folkloric character is created by a real

person and absorbs parts of her. Witches whose only dialogue in the fable is to repeat three

words have souls. Sometimes the best way to say, “here I am, account for me” isn't to provide

an in­depth medical history, but to invent the dragon.


Mike Nigro, G. Lucas Crane, Bridget Feral, No Surrender + Stonehenge Parnhashnakovsky, Joao Da Silva, Erin Prinz-Schwartz

Elizaveta Shneyderman is an artist and curator living and working in Brooklyn, NY. She is interested in membranes, empathy, and misappropriation. In a recent curatorial undertaking she considered compression as a mode of circulation, hoping to gel collaborative models with unexploitative ways of working. Examining the tension between artwork as a single artist’s exercise or as a collective phenomenon, she considers the predicament that space is a retelling of the objects within it. She has a B.F.A. from the Rhode Island School of Design in Painting with a concentration in History, Philosophy, and the Social Sciences.

Matthew Weisberg is a lover foremost and a mind second most. His mind loves to think about enacting ethical relational models through the intentional construction of performative environments. His body loves to eat, dance, listen, and shout. His work as a teacher, gardener, curator, performer and stay at home bae have allowed all him to fill his life with those loves.