Completed Projects


Six Gestures

more than one hundred years after franz boas traveled to and wrote about inuit of cumberland sound in the central eskimo, it is possible to suggest that the descendants of the people boas worked with still have something to teach. boas’ work made a number of significant contributions, not least in advancing the concepts culture and cultural relativism that the professional discipline of anthropology rest upon. in these times, as the concept culture comes under threat from hybridity theorists on the one hand (cf. clifford 1988) and from its own defenders on the other (cf. sahlins, 2000), it perhaps worth reminding ourselves that of all the great appropriations made from so-called ‘primitive peoples’ the concept culture may be the most significant and, the contemporary trends notwithstanding, most enduring as well.


by peter kulchyski

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Alexei Taylor and Agustin Sevilla
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Art, Migration, and Human Rights

A collaborative dossier by artists, scholars, and activists on the issue of migration in southern Mexico.

In August 2015, a group of 38 students, professors, researchers, photographers, filmmakers, artists, and activists from 13 different countries boarded a bus in San Cristóbal de las Casas for a week-long trip across the southern Mexican state of Chiapas and the cities around it. The trip was part of a three-week course on “Art, Migration, and Human Rights,” offered by the Hemispheric Institute of Performance and Politics.

E-Dossier on art & Migration in Southern Mexico

Faculty Contributors

Diana Taylor
Marcial Godoy-Anativia


Temporal Incidence and Continuous Dissidence in Contemporary Hispano-American Performance Art

This presentation outlines the work of artists who participated in the program organized and curated by Hector Canonge, "Temporal Incidence and Continuous Dissidence," during the Hemispheric Institute's Xº Encuentro that took place in Santiago, Chile (July 17-23, 2016).

As members of the transcontinental network, ARTerial PERFORMANCE LAB (APLAB), created by Canonge in 2013, selected artists explored issues related to traversed identities, constructed sovereignties, peripheral domains, and territorial rootedness. The indoor and outdoor performances brought local voices who raised questions about the present state of Artivism (activism + art) in the region.

Participating artists:
Daniel Acosta (Argentina), Neda Godoy (Chile), Adrían Gómez (Cuba), Isabel Jordán Bruno (Bolivia), Clara Macias Carcedo (Mexico), Rossella Matamoros (Costa Rica), Ana Carolina Izquierdo (Peru), Graciela Ovejero Postigo (Argentina), Veronica Peña (Spain), Wagner RossiCampos (Brazil), Leonardo Salazar (Chile), and Leyneuf Tines (Colombia). Photography: Gonzalo Tejeda (Chile). Organized and curated by Hector Canonge (United States).

ARTerial Performance Lab (APLAB) was initiated in 2013 by NYC-based, interdisciplinary artist Hector Canonge. Since its inception, the project’s mission has been to connect Latin American artists whose practice involves and explores Live Action Art. As a collective, APLAB, and its continental network, has organized presentations in Argentina, Colombia, Ecuador and Peru. In 2016, APLAB presented a special program for the Xº Encuentro in Santiago, Chile, featuring artists from Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Mexico, Peru, Spain, and the United States. 

Thursday, May 4, 2017

Live video broadcasting will be available here, beginning at 6:30 pm (EST)


Hemispheric Institute of Performance & Politics
20 Cooper Square, 5th Floor
New York, NY 10003


The Politics of Passion

What options for political and economic justice do people have when the electoral process has been violated or corrupted, the media sequestered in the hands of power-brokers, and official institutions cannot adjudicate in a way that is seen as transparent and legitimate? "The Poltics of Passion" explains the resurgence and even centrality of the body in politics. As political parties fail to represent their constituencies, people are re-learning to represent themselves.

An Essay

by Diana Taylor