Stephanie Acosta

G O O D  D A Y  G O D  D A M N ( Exhibition 2021)

Good Day God Damn is a durational installation by interdisciplinary artist Stephanie Acosta that considers multi-crisis chaos, the mundane nature of the apocalypse, and the simultaneous impossibility, myth, and violence of the american landscape. Originally built as an ensemble performance for the Chocolate Factory Theater that never premiered, Good Day God Damn transmutes an unseen performance through the emotional landscape of 2020 in order to create a new work infused with the archive of its past experiments. More on the exhibition HERE

A Q U Í  Y  A L L Á

Aquí y Allá, the result of a year-long dialogue between artists Stephanie Acosta and J Soto, focused on the overwhelming complexity of identifying as Latinx while representations in popular culture and the art world reify tired visions of otherness rather than expressing our contemporary presence.

We chart out territory for a more dynamic dialogue. Aquí y Allá manifests as a collection of new artworks developed into two archives in the forms of video and sculpture; an object theatre.  More HERE

I  A M  A  P O T T E D  P A L M  -  V. 1  +  V. 2

I Am A Potted Palm, a multi stage performance event, an accidental collection, a research series.  Is This What you Wanted, confronting issues of self tokenizing and the sanctity of identity works, Palms, gathers performance, video, sound, and environmental shifts into play. 

C O L L A G E  C O L L I D E 

COLLAGE COLLIDE utilizes saturated multi-layer video projection and live performance to create a world of accumulation where site and self double and time splits like an atom. Technicolor pasts layer on pulping flesh creating an immersive field for dreams and the lucid. Multiplicity, duration, landscape, soundscape and actions sharpen and bleed between the material and the ephemeral. Created by Stephanie Acosta w/ Jessie Young Score by Bob Garrett

P R O C E S S / P R O G R E S S  +  N O  O N E  I S  A N Y W H E R E

PROCESS/PROGRESS - A discursive performance + art project housed widely in the minds of Stephanie Acosta + Rory Murphy, NO ONEIS ANYWHERE. Looking to the American landscape, systems of memory, archive and liveness, Murphy + Acosta communicate through distance about proximity.  

QUESTIONING IDEAS OF SPACE AND PLACE, WHERE THERE ENDS AND WE BEGIN.

U N I N T E N D E D  S T R U C T U R E S

Unintended Structures asks what happens when impact is unseen but not removed.  A multi-part installation including projection, cement object artifacts, and archival printed large scale stills on paper.

[Images: Unintended Structures Video Stills ; Impossible Gestures #3, #13, #72 featureing Murat Adash, Stephen Kwok, and Hannah Verril]

F A L L I N G  T H I N G S

Falling Things, an ensemble performance evolving out of Unintended Structure research, or perhaps as part of that research, Acosta invites a ensemble of dancers and performance makers into the movement studio to explore themes of iteration, repetition, reflection, ripples, translation and place through the gesture of falling, through the reality of impact. 

[Image : Falling Things (2013) Puebla, Mexico; Featuring Sam Allen, Anna Kladzyk, Karen Faith, Nadine Lollino, and Jessie Young; Music by Rory Murphy]

E V E R Y H O R I Z O N L O O K S L I K E C U B A T O M E

Every Horizon Looks Like Cuba To Me is a performance, archive and installation. A meditation on the abstraction of homeland when born in exile. Raised in Miami Florida Acosta explores the sense of loss and dissociation that comes from belonging to a place you have never been. Created through the duration of the evenings events Acosta attempts to trace the elusive horizon before the horizon shifts, slowly encircling the gallery and Its visitors in an infinite false horizon.

T H E W A T E R L I N E

Waterline tackles the challenge of drowning in and with grief through projection + live performance.  As the short film of morphing blues evolves the artist reads live from surrealist diary, ebbing between poetics and biography, floating and sinking down with her audience.

[Images: Waterline (2013) Projection Video Stills; Dur. aprox 20m]