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andrea geyer




Traced. 2017. Performance at SFMoMA.


Photo: Beth LaBerge


Photo: Beth LaBerge

Traced follows the work of the Grace McCann Morley, who directed the San Francisco Museum of Modern Art for its first 23 years. A visionary leader in museum culture, Dr. McCann Morley insisted on museums reflecting the world around them, and being open to everybody as a place of study. Geyer’s performance reflects on Dr. McCann Morley’s legacy and sudden departure from the museum in 1958, as well as her subsequent disappearance from a collective consciousness in the history of modern art museums despite the fact that her vision for museums is today more important than ever. What are the politics of erasure in the past and in this new present? What is the role of cultural institutions within? How can we take a stand against this violence of disappearance?

performers: Marbels Jumbo Radio, Oscar Tides, Julie Tolentino and Andrea Geyer.

Performance stills

 

Performer's/Guest Artist's Bio:

Marbles Jumbo Radio (Marbles/they) is a dance artist and movement thinker who works within performance, video, and discussion based platforms that engage social marginality with the politics of place, belonging, and power. They organize a practice and action called Wrecking Walden, which intervenes in the erasure of Black bodies and bodies of color from land-based memory and contemporary rural imagination. Their recent article, Reflections on Performance as Vigil, which was published in the blog "the iris: Behind the Scenes at the Getty", discusses the practices developed inside their collaboration in taisha paggett’s performance work, Mountain, Fire, Holding Still. Recent past collaborations also include Simone Forti, Johanna Breiding, and Yann Novak. As a dancer/performer, they have contributed to the work of A.K. Burns, Mayfield Brooks, Andrea Geyer, and Meg Wolfe.  This is their second appearance in Geyer’s work, following Truly Spun Never.  Marbles is the ancestral child of Eastern European and East Asian immigrants who came to the US to lend their skills, time, and hard labor, in exchange for freedom from political oppression.

Oscar Tidd might not be Oscar much longer. Oakland ---> Earth. They dance and perform for mystically practical reasons, their reason is defective, their analysis is vulgar, their work is so shallow that its spherical. 

Julie Tolentino creates intimate movement-based installation, durational performance, objects, sound scores, video and one-to-one works exploring the mixed-race body as a site of resistance and queer (il)legibility. Her work has been presented in galleries and museums since 1992, including The New Museum, The Kitchen, BAM Le Perc, Participant Inc, Performa 2005 and 2013; Wexner Center, Theaterworks Singapore, Myanmar Project, Manila Contemporary, Green Papaya Gallery, Philippines; Commonwealth & Council, Los Angeles Contemporary Exhibitions, AXIS Festival, Honor Fraser, San Francisco Art Institute, NYU Abu Dhabi, Tramway, The Green Room UK, La Batofar-Paris, Madre Museum-Naples, Haus der Kulturen der Welt, Pact Zollverein.  As programmer and curator, with Pati Hertling, of the 2016 exhibition "Coming To Power - Twenty Five Years of Explicit Art by Women" at Maccarone, NYC, she is editing a catalogue on the work of Ellen Cantor. Tolentino is the co-editor of TDR Provocations; a mentor at Wesleyan ICPP; a visiting lecturer at UCLA and is developing the book, “Guard Your Daughters” Clit Club 1990-2012”;. She hosts 1:1 artist retreats at Feral House*Studio in the Mohave Desert and is leading a one-year residency and new work, THE HARD CORPS/THE VOID, for HMD’s 2017 Bridge Project in San Francisco.