neighborhood: crown heights | space type: gallery | active since: 1999 | links: website, facebook, twitter

“Everyone in the neighborhood knows, if you need something, come to FiveMyles,” says Hanne Tierney, founder and artistic director of the Crown Heights gallery, performance venue, and community gathering space. Hanne opened the 1,500-square-foot nonprofit gallery, which is dedicated to showcasing the work of emerging, under-represented, and minority artists, in a former garage in 1999. FiveMyles presents six formal exhibitions each year, and close to half the artists shown are African American. “We’ve always stood with Africa, East Africa in particular,” Hanne says. “And it’s very exciting for the kids in the neighborhood to see contemporary work from Africa.

pix by Maximus Comissar

This year, a 172-unit luxury condo will open two doors down from FiveMyles, which Hanne fears could mark the end for the community. But she continues to fight for her neighbors: screening documentaries, hosting talks, writing letters to Albany about police harassment, and, of course, curating more and more exhibits, showing the work of more and more artists. “Hanne is so important to this community,” says Francelle Jones, whose work has been featured in the gallery. “She brings people together, and she allows people who live in this neighborhood to feel as though they’re still part of something. That’s so important.”

Want to learn more about FiceMyles, and 49 other incredible Brooklyn Spaces? Buy the book!

neighborhood: east williamsburg | space type: performance venue | active since: 2011 | links: facebook

In late 2011, several queer community and collective living spaces were all shuttered in a row—the most high-profile being Mx. Justin Vivian Bond‘s House of Whimsy in the East Village. Artist Gage of the Boone and Mx. Bond’s former roommate Nicholas were looking to start a new space for queer and queer-friendly artists to gather and present their work, and they found what would become the Spectrum tucked behind a cheap diner in East Williamsburg. A former aerobics studio and after-hours bar, the space was painted black, walled with mirrors, and adorned with a stripper pole and two disco balls. “It was grimy and sleazy,” Gage says, “but also so weird and beautiful.”

photo by Shannon Carroll

Three years on, the Spectrum has hit its stride. During the day, the space is used for dance and theatre rehearsals as well as classes, like disco yoga, queer pilates, dance, and meditation, all of which have a focus on inclusivity for any identity of body type. Then there are the nighttime events, showcasing all types of art and performance. Some recurring shows include Cloud Soundz (a music showcase), Revolting Grace and Execution (performance and dance-based work), Mama Said Sparkle! (performance art), Dick-tionary (poetry readings), and Ova the Rainbow, and Dizzyland (elaborately themed late-night dance parties). “I feel like this space is my radical duty, my everyday activism,” Gage says.

photo by Kit Crenshaw

Want to learn more about the Spectrum, and 49 other incredible Brooklyn Spaces? Buy the book!

The Cave is a huge basement studio in an artists’ loft building in Crown Heights. It’s a multifaceted space: part performance venue, part rehearsal studio, part gallery, part community gathering space, and it’s inhabited by a collective of musicians, dancers, sculptors, and artists.

all photos by Alix Piorun

Currently the Cave is being used as a set for an immersive dance performance called “The Cave: Archaic Remnants and the Methods of Transfer.” That name encompasses the space (the Cave), the dancers (Archaic Remnants), and the musicians (Methods of Transfer). The set, sculptures, and installation were designed by Laura Cuille, and nearly a dozen artists contributed music, dance, choreography, and more.

There will be one final performance of this unique site-specific piece on November 21st—buy tickets here. But first read my Q&A with Laura and two other contributors, Don and Arielle.

brooklyn spaces: Laura, how did the idea of this performance come about?
Laura: We all came into this space a year ago, and there was already music going on, and visual arts, and movement, but it was really loose and divided. At the time I was making life-size sculptures, and the idea of working with music and dance was in the back of my head. I was actually looking for a different space to install the sculptures, but then I realized I could put them here. So I started building the set and it just clicked that this was something we could all do together and all build off of to make it a whole.

brooklyn spaces: Don, how did the music come together? Were you inspired by the sculptures?
Don: We were collaborating together but separately, if that makes sense. The energy of creation ended up bringing our practices to a solid line instead of two parallel lines. Laura and I are kind of the same, as far as the way we work. I’m the audio version of her.

brooklyn spaces: Arielle, what’s your role?
Arielle: I’m behind the scenes, helping. I’m like the host.

brooklyn spaces: How would you describe the show to someone who hasn’t seen it or will never seen it? What are you trying to evoke with the performance?
Don: I would call it a Pompeii cave sculpture with visual stimulation and movements to cinematic music. It’s not that I wouldn’t call it dance, but I think it’s a little different. It’s almost like live shadow puppets feeding off of the music.
Laura: I think the theme is really universal. I was reading Carl Jung’s The Red Book while I was working on this piece—I’ve always been inspired by music and literature to drive me in my art. And I’ve always worked with the human figure because that’s all we can really perceive of. With the Cave it came to me like a spark, because I was just dealing with raw human emotion and psyche and all the things that are at the root of what drive us and have not changed in the history of human existence. All the other shit in society is basically just decoration and different ways to confuse what’s actually driving us, which is really raw and primal. The symbol of the Cave, and then the dance and the music—it explores all these themes, the primal human condition, confusion and pain and all these things, and accepting it more than trying to find a conclusion to it.

Arielle: Piña Bauche’s dance troupe describes themselves as a “theatrical dance company,” and they use that notion of theatre. There’s something so cinematic about the music in this piece, there’s a sort of theatrical interpretation of movement, symbols that come across with the sound as a sort of shadow and reflection of the dance. And the music, it feels like a movie score. The way it builds and falls is really cinematic. And also, the idea with this piece is that you stay in the Cave, you never leave it. After most performances you leave a space immediately, so whatever experience you’ve had or however it’s affected you, you take it with you, alone. But for this, we’ve brought other artists and musicians to continue performing after the performance, incorporating the vibe or energy from the show. That way, for the audience, whatever feelings you’re having, you don’t have to be isolated with them and you don’t have to just leave. So this isn’t an isolated performance, it’s a performance within a context, within a space, and within what’s to come afterward.

brooklyn spaces: Have any of you ever done a site-specific, multi-faceted performance like this before?
Arielle: No, it was new for everyone involved.
Don: But doing it all this in the space made it really comfortable, almost like playing in my living room. Which is not to say that I didn’t get nervous; I definitely did.
Laura: I agree, the process was so natural. It just moved so easily and so magically.

brooklyn spaces: What are your thoughts on being an artist in Crown Heights these days?
Don: I love it here. I think it’s the perfect blend of people. It’s all ages, and it’s not loud; Bushwick, which I do love, is just a lot louder. People are working really hard all over the place there, but Crown Heights is a little more mysterious, there are all these random things happening. There are a bunch of people doing really cool things right in this building. There’s a dude building boats! Tug boats, like pure wood, cedar and stuff. The people around here are so interesting, and there’s so much passion.
Arielle: This neighborhood is a lot more community based, and a lot less commercial. It just seems so natural.

***

Like this? Read about more unconventional performance spaces: Gowanus Ballroom, Gemini & Scorpio Loft, Brooklyn Lyceum, Dead Herring, Bushwick Starr, Cave, Chez Bushwick

This is by far the oldest space I’ve written about. It was built in 1910 as a public bathhouse, boasting 100 showers and the largest indoor pool in the country. You can still see evidence of its past on the façade: etched onto the top are the words “PVBLIC BATH,” and there are two entrances, one each for men and women. In the late 1930s, as part of a WPA project headed by Robert Moses, it was closed down, and then reopened in the early 1940s as a gym, which it remained for about two decades. After that it changed hands several times, going from a mattress warehouse to a transmission repair shop, among others. Then in 1994, Eric Richmond bought it to turn it into an arts center.

an early sketch of the Lyceum

In its current incarnation, the cavernous Lyceum plays host to an astonishing array of artistic events, from plays and performances to fitness classes and sprawling galas. Some highlights from the past two decades: performances from Fiona Apple, Polyphonic Spree, Yo La Tengo, Upright Citizens Brigade, Amanda Palmer, and Black Dice, plus festivals like KingCon Brooklyn, Oxheart’s Canvas, NY Zine Fest, and the Brooklyn International Film Festival.

The Lyceum also has a daytime marketplace for coffee and local products, and soon there will be coworking space available during the days as well. And the building is available for rental, so if you’re looking for a really unusual place for that’s steeped in Brooklyn history for your shindig, you’ve probably found it. In the meantime, check out my Q&A with Eric Richmond.

brooklyn spaces: What’s it like being the caretaker of such an immense old space?
Eric: We got involved with the property in 1994, and we’re just constantly working on fixing it up. We’ll fix something, have some events and shows to generate more revenue, then fix something else, then have more events and shows, like that. Most of the basics are done by now, but there’s always more work to be done.

Holiday Craft Market, pic from Markets of New York

brooklyn spaces: What was the area like when you got here?
Eric: This wasn’t a good area, not even close. There were gang members on the stoop, people getting shot in the subway. When we first started working on the building, we went out into the neighborhood and talked to as many of the older residents as we could, to try to get them excited about what we were doing. By and large, the response was, “It’s a beautiful building, but I want nothing to do with it.” There had been such bad things happening on this block for four or five decades that everyone would avoid it. I heard from one woman that some kids had died in the building; they cut a hole in the fence of the balcony and dove in the pool, which was only about two feet deep at that end.

pic from Cabalaza

brooklyn spaces: So what did you have to do to get the older people to start coming here?
Eric: Oh, I never got them. I made the effort, but it never worked. But then things started changing in the neighborhood anyway. In 1998, a bunch of kids across the street tried to build a bomb and blow up Atlantic Terminal. It hit the news big-time, the Feds swooped in, and the city started making a serious effort to clean up the neighborhood. There were drug busts two or three times a week for about six months. A retired policemen once told me that the area around Union St and 5th Ave had one of the highest concentrations of crack dealers in the city. So they had to root out that kind of stuff.

at Oxheart's Canvas, pic by Carlos Henriquez

brooklyn spaces: Wow. 1998 wasn’t that long ago.
Eric: Right. So all I did was hang on long enough, you know? I mean, I cleaned up the best I could in the meantime, but for a long time, 4th Ave was just a dumping ground for everything. There were times when car doors would get thrown over our fence, bumpers, giant piles of concrete rubble, even a wardrobe. One time, about two dozen huge red plastic letters showed up inside our fence. So I played Scrabble with them, and what did it spell? Associated Supermarket. I walked up the block, went into the store, and said, “You guys just dumped your old shit in my yard. Come deal with it.” They said, “We didn’t dump it!” I had to lay out the letters and show them.

hoop meditation class

brooklyn spaces: So are you seeing positive effects of the huge influx of new people in the neighborhood? Are you getting more foot traffic?
Eric: It’s hard to tell because the café is on hiatus. Now there are six places around here where you can get a great cup of espresso, so we have to figure something else out. We’re going to be opening a fairly large coworking space in a couple of months, so it’ll be interesting to see how that goes.

from Oxheart's Canvas, pic by Nicole de Waal

brooklyn spaces: Do you have some favorite events or performances that have happened here?
Eric: We had a rock musical early on that was really tremendous, it was based on David Bowie. About a decade ago we had a Broadway dancer choreograph the musical On the Town with songs about New York. That was one of the best shows I’ve ever seen. A year or so ago we had a Rocky: The Musical workshop here; they took over the whole space, built a ring, did all their rehearsals and some performances, and then went off to Germany to perform there. There have been some amazing music acts, too: Fiona Apple, Yo La Tengo, stuff like that.

Civilians theater company, pic by Adrian Kinloch

brooklyn spaces: Are there some lessons you’ve learned from doing this for so long?
Eric: Lately we’ve been thinking a lot about what we’re trying to accomplish, and working toward being more intentional. It’s important to make the events conform to the building, instead of trying to force the building to conform to the events.

from Oxheart's Canvas, pic by Ralph Andre

brooklyn spaces: So are there particular things you’d like to have more of?
Eric: We’ll probably be reloading the music and performance end of what we do. I mean, I love music, I love bands, but loud band just don’t work here. When a DJ comes in, you can tell him all you want about sound level limits, but he won’t pay any attention. People always say “Why can’t it be louder?” Well, because you’re not in a club in Chelsea. I don’t have eighteen-inch brick walls, we’re not in an abandoned warehouse, you’re not going to piss off my neighbors. That limits some of the higher-profile events, but that’s fine. We’re not trying to get Jay-Z to come play here; I’d rather have more Bar Mitzvahs.

Juste Debout dance contest

brooklyn spaces: Are there other things you want to talk about about your experiences here? You’ve been doing this a long time; you’re part of old-guard Brooklyn.
Eric: That’s a sad thought, but probably true. The only thing I can say is that Brooklyn’s changing. It’s changing like wildfire, and it’s good to see.
brooklyn spaces: It’s nice to hear that. When I talk to people in Williamsburg or even Bushwick, the feeling is, “It kind of sucks; we’re about to get priced out.”
Eric: Well the problem is, they didn’t buy. People who are in a space temporarily don’t tend to think about being part of the infrastructure. They have an itinerant arts ethos and style that has to up and move all the time. You’re going to see them in Brownsville next, and then East New York, and then Ocean Hill.

upper floor of the Lyceum being used as a gym

brooklyn spaces: Yeah, and then Detroit. Because we’re running out of places to go.
Eric: Well, it’ll take a long time. I go to Williamsburg and see all the people there, all the development, it’s unbelievable. I remember getting held up a couple times in Williamsburg; now it’s got athletic facilities and tens of thousands of people milling about every weekend. I think it’s a good thing. When I go to Bed-Stuy and see Dough, the best doughnut place in the city, right next to the projects, how is that wrong?

Face the Music, pic by Kaufman Center

***

Like this? Read about more historic buildings: Brooklyn Historical Society, Bushwick Schoolhouse, Breuckelen Distilling Co., Broken Angel, South Oxford Space, Trinity Project

By now everyone probably knows the storied history of the Silent Barn. The band Skeletons started the DIY venue in their Ridgewood apartment in 2005 (which I profiled back in 2009), and until 2011 it was a raucous, dingy, rollicking good time—and then they got ransacked. Around $15k worth of equipment was destroyed, and then the city came in and evicted them. That probably should have been that, but the Silent Barn launched a Kickstarter, which brought in more than $40k. So they decided to start over, but this time, to be as legit and legal as they could be.

the Husk; photo from Showpaper

Fast forward to early 2013, and the Silent Barn 2.0 opened its doors in Bushwick. The new incarnation is definitely a continuation of the Husk (which the original space is now called), on a much bigger scale. The building itself is a lot lager—three floors and a yard, with eight bedrooms, thirteen roommates, three stages (or more, as needed), an art gallery, a dozen art and recording studios, and on and on. The scope is bigger too; in addition to music shows nearly every night, there’s the Babycastles videogame collective, science art, Aftermath Supplies artist reuse shop, multimedia video art events, a supper club, piñatas, theatre groups, and a whole lot more. And the community involvement this time around is huge: there are about 150 people participating, in various degrees, in the conceptualizing and running of the space. Administration is framed on the metaphor of a kitchen, and there are about 60 Chefs, each responsible for keeping a small aspect of the Barn going. It’s all volunteer, all consensus, and all making it up as they go along. It is, I think, pioneering a new way to do DIY—intentional, flexible, transparent, and innovative. (Want to join in the fun? Go here.)

Here’s a short Q&A with Katie, the Press Chef, and below that I asked two questions of a dozen different Barn members: 1) What’s your favorite event you’ve participated in here, and 2) Why, out of all the myriad ways you could be spending your time, is Silent Barn where you want to be?

brooklyn spaces: From the structure of the collective to the special vocabulary to all these working groups—did that evolve spontaneously as you figured it out, or was there a model you were working from?
Katie: We’re making it up as we go. We have weekly Kitchen meetings with all the Chefs, and part of that is Stew, which is all our discussion topics, whether it’s what murals are coming up or how to deal with conflict resolution; everything goes in the Stew and we work it out together.

all pix by Alix Piorun unless noted

brooklyn spaces: I love that. I feel like this space is really breaking new ground in a lot of ways, sort of changing the meaning of DIY in Brooklyn.
Katie: Well, there’s a responsibility here. Places come and go, you know? When the Husk was ransacked, we had such a huge reaction from the community, so it was our responsibility to do things the right way. After the Kickstarter, we could have re-opened the next day—and then probably gotten shut down again. So we decided to focus on longevity. I think we’re really on the right path. People always try to define DIY; we’re still doing it ourselves, we’re just doing it differently. It’s not like we’re trying to change the model for other spaces; this is just what we have to do. Plus look at this! This place rules! This never would have happened if we hadn’t taken the route we took.

Martha Moszczynski’s painting and piñata studio

brooklyn spaces: What are your thoughts on the neighborhood? What’s it like being in Bushwick now, especially after having been in Ridgewood?
Katie: We’re really trying to make ourselves an asset to the neighborhood. We go to community board meetings every month. We want people to know us and recognize us, to know that they can come to a show or book a show or play a show or put up some art. We really want to find new ways to integrate with the community and make our presence a positive thing.

***

brooklyn spaces: What’s your favorite event you’ve participated in here?

Katie: I like the ones that seem to be holistic Barn, like when there’s a house show and a complimentary show downstairs. Like the Modular Equinox, which took place in every single room. It was really neat to have that kind of foot traffic everywhere, even in the “private” areas.

Tricia: Lani’s birthday party. We had been holding our breath waiting for a liquor license for so long, and I think that was the first show where we’d really come into our own. It was this giant wild night, everyone went crazy, just the whole Barn partying.

Joe Ahearn (Showpaper): This question never gets easier. I’ve seen / thrown / taken part in easily over a thousand shows at Silent Barn! My favorites are those that come out the blue from old friends, the ones that have strange challenges, the ones with moments that feel like magic, the ones that somehow discover a new way to use a place that thousands of bands have been playing with for years.

zine library

Mila (website): I trust that if I show up on any given night, I will see something intriguing. One evening that stands out is the Public Meeting we had in May,“Women in DIY.” It was amazing to see the room filled with women who have done really extraordinary things. It felt supportive and positive, inspiring and motivating, to be a participant in this community.

Theresa (Internal Events Chef): The Wild Boys Immersive Party, which had performances, dream machine, food, piñata, art, community costumes, etc.

another living room; sometimes transforms into the Hawkitori Dinner Club

Larissa (Paesthetics Octopus): No offense to the events (and I’ll give another shoutout to that Modular Solstice night when there were three completely different events going on simultaneously), but it’s the times in between the events and the things that happen because events are going on that I most remember.

Arielle (Aftermath Supplies): My favorite events are the ones I don’t show up for on purpose. I’ll be working in the shop or my studio and there will just be someone singing their heart out or the most nasty thrash band totally destroying. I stumble into the show room with total awe and appreciation of what’s going on and that I happen to be there to witness it.

Deep Cuts (barber shop + record shop)

Nathan Cearley (Dark Cloud Chef): On the one hand, I really love the Modular Synthesizer Solstice and Equinox shows I curate here, because I always include so many individuals who are part of the community and have such crazy visions about weird electronics. On the other hand, I really love our weekly administration meetings because it’s crazy how much we get done for a group with no traditional top-down hierarchy. Both “events” speak to the possibility of surprise still existing in such a dead, predictable, monotonous society.

***

brooklyn spaces: Why, out of all the myriad ways you could be spending your time, is Silent Barn where you want to be?

Brandon: I used to do house shows in Michigan, and the intimacy and humanity of that scale of cultural happenings was really important. When I moved to New York I was so depressed, going to all these crappy clubs where they tally at the door how many people paid for your band. It just sucked. And then I found the old Barn and it was so different. It’s a way to exist in New York and interact with other people on a much more human level.

Gravesend Recordings / Future 86 Recording Studio

Katie: I think that’s what a lot of our answers are, actually. I’m from a small town in Mississippi, where there aren’t any clubs or bars or anything, so it’s only DIY stuff, jamming with your friends, playing in someone’s basement or on the beach or whatever. And I was so depressed when I moved to New York too; I got stuck in this dorm with these people I didn’t get, and the Husk was the first place I felt at home. It’s home and family, that’s why we do it.

Larissa (Paesthetics Octopus): I love working toward the future of Silent Barn along with all these other pretty incredible people who all have such different talents and viewpoints, knowing that I might never had the change to even meet them otherwise.

backyard during Warper blockparty

Tricia: I’m here because I can be. I can’t think of anywhere else that would say, “Hey neuroscientist, come have a space!” Not only can I learn about art and music and DIY culture, but I can collaborate with artists. It’s just amazing to do science and art in the same space. And to show it to people who want to see it!

Theresa (Internal Events Chef): Being here lets us work with a bunch of people who are good at things we’re not good at. For a recent show, Martha made a huge dick piñata for us. It would have taken me ages to figure out how to make a dick piñata! There’s so many skillsets here. You can just email the Kitchen saying, “I need this weird thing. Does anyone have it or can anyone do it?” and you get three emails back saying, “I can do that!”

another living room; paintings by Devin Lily, photography by Nina Mashurova

Arielle (Aftermath Supplies): The constant friction and motion of interacting with people, art, life, and general day-to-day bullshit, like emptying trash cans or drinking coffee and sharing “that time I puked” stories over a taco. Navigating a place that is a whole made up of parts, and all the interesting drama that brings about, while ultimately having a community of people who’ve got your back. A second place to call home, to take creative refuge in.

One the living rooms; art by Lena Hawkins, Lani Combier-Kapel, Jen May

Lani (Volunteer Chef): It’s easy to get wrapped in bar culture here, or to just go to a show and leave to go home, fall asleep, and go to your 9–5 job. That’s not the life I’m interested in; I want to be immersed in the art and music that happens here. Being involved in Silent Barn satisfies a part of my personality that helps me grow as an artist and musician.

Eli (Art Chef): Silent Barn is an excellent experiment in joining art, life, and politics. We’ve managed to corral so many brilliant people and force their conflicts and concordances into creating something with the potential to be truly new and exciting.

Nina (hosts Phresh Cutz): It’s this great community environment that really supports experimental ideas or any kind of creative thing. My whole life, the events I’ve really enjoyed and been inspired by have been in community-based creative art spaces like this, so it’s really great to support that and help facilitate it by giving people space to do what they want to do.

Phresh Cutz, photo by Meghan O’Byrne

Kunal (Babycastles): The thing that’s important is the promise of this strange experiment actually producing something of immense value to the world. Once we get all the pieces solidly in place, a massively successful mechanism of including participation from almost anyone interested, a successful “community-building” pathway for any new voice interested in gathering and growing any piece of culture inside of a stew of culture, successfully extending the value of all this community, strengthening the celebration to our direct neighbors and thereby to the city as a whole as a truly exhaustively functioning projection of the social ecosystem that the world should be, the potential for the thing to be so strong that it continues to channel and nurture and organize new voices in art and communication almost entirely, and finally, some sort of flowering and seeding aspect, where the energy is too much for the small space, and the vision encompassed inside starts to blow up, fly with the wind to surrounding areas, and just take over life in the city itself, and the ideas propagate strongly and successfully. Stuff like that.

Hieroglyph Thesaurus performing

Joe Ahearn (Showpaper): Silent Barn acts as an artistically inclined autonomous zone, where we get to make the rules and share the work we want and are excited by. I don’t think it’s too different than the DIY ethos of other collective art spaces in Brooklyn and around the world throughout history, but I happen to live here and want to be able to participate directly in the culture I consume, and this is as solidly sustainable a way to do so, on my own terms, that I’ve found in New York.

Mila: The Barn is a place where my ideas about what I can and can’t do are constantly challenged. I am constantly forced to reexamine how I think and how I do things, because infinitely more is possible, permissible, and at stake. Plus it feels like family.

Title:Point theatre company’s desk/workspace.

Nathan Cearley (Dark Cloud Chef): I participate in the Silent Barn because it’s giving vitality and substance and life to the concept of constructing our own world—a concept that I find hyper-American but strangely near extinct in this country today. I love experiencing the art and ideas that all these diverse individuals create and, in a broader sense, I love helping to create the space that makes that human freedom possible.

***

Like this? Read about more collectives: Flux Factory, Monster Island, the Schoolhouse, Hive, Bushwick Project for the Arts

G&S Glitter Ball, NYE 2013 (photo by Linus Gelber)

For ten years, Gemini & Scorpio have been throwing huge, immersive themed parties, consistently positioning themselves at the forefront of the NYC underground art-party world. Along with a few other beautifully creative affairs—Rubulad, Dances of Vice, Shanghai Mermaid, Cheryl, various Winkel + Balktick shindigs—Gemini & Scorpio curate the most creative, daring, and over-the-top events that Brooklyn has to offer. Whether it’s jazz bands in a Russian banya, a steampunk Burning Man fundraiser, an old-meets-new electro-swing dance party at Lincoln Center, or a New Year’s Eve glitter explosion, Gemini & Scorpio bring together dancers, music, and performers around lavish themes to create unforgettable occasions, party after party after party. And that’s not all: G&S also curate a weekly events listing that is second only to NonsenseNYC for finding the most fantastic things to do any day of the week. Sign up here!

After years of being nomadic, Miss Scorpio found a permanent home for G&S in a repurposed Gowanus woodshop. Now, in addition to lavish monthly parties, the loft hosts lectures, dance classes, plays, photo and video shoots, and more. And after spending months on demolition and build-out of the new space, Miss Scorpio reached out to the community she has provided with so many fantastic experiences to ask for help with the next stage of development of her space—and successfully raised more than $32k through Kickstarter. In the short term, this will mean new floors, walls, and ceiling for the loft, and in the long term it will allow G&S to keep bringing us all the best, most magical affairs—the uniquely beautiful experiences that make Brooklyn the most spectacular place to be.

photos by Maximus Comissar unless noted

brooklyn spaces: Let’s start before this space: tell me how you became one of New York’s most creative party mavens.

Miss Scorpio, photo by Linus Gelber

Miss Scorpio: It was a pure accident that started with a website about online dating. This was ten years ago, when online dating was mostly considered weird and sad, but Miss Gemini and I wanted to show people that it was actually this fabulous thing, like eBay for dating. We thought you should never just do dinner and a movie with your online date; you should do something interesting, so that even if the date sucked, at least you’d have had a cool night. So every Friday we put out a list of unique things to do with your online date, and then we started throwing “singles parties that don’t suck.” Well, they didn’t suck to such a degree that we couldn’t keep couples out! We started with a Valentine’s Day party, then we did one for Halloween, and another one for New Year’s, and now it’s ten years later and this is all I do.

brooklyn spaces: What elements are necessary to make a Gemini & Scorpio party?
Miss Scorpio: First there has to be a theme, something a bit off-beat and unexpected that gives people an excuse to dress up. Live entertainment is another factor that’s really important: there’s generally a whole evening of programming curated to the theme. A G&S party isn’t one you drop into casually on your way to something else; our ideal party guest is one who leaves the house knowing that they’re coming to see us, dresses to the theme, and stays with us for the whole night.

brooklyn spaces: Tell me about some of your favorite parties.

banya party, photo from G&S

Miss Scorpio: I always enjoy the Lost Circus steampunk party, and also the banya parties, which we’ve been doing since 2006. A fantastic recent party was a sci-fi mashup called Cantina at the End of the Universe. It was a Star Wars Day party—I’ve been wanting to do that party for four years, but I had to wait until May 4th fell on a Saturday. One of the headliners was Big Nazo, this incredible alien monster funk band. They played the Masquerade Macabre Halloween party that I co-produced with Rubulad in 2010, which had one of my favorite moments of any party I’ve ever done. Big Nazo was onstage being joined by the five-piece Raya Brass Band, and I was leading a parade from our other party location, headed up by Extraordinary Rendition, a fifteen-person brass band. Big Nazo and Raya were supposed to be done when we got there but they weren’t, so we had like thirty people onstage jamming, along with these enormous alien monster puppets, and the crowd just lost their shit. It was beautiful. [Video of the madness here.]

Big Nazo, photo from G&S

brooklyn spaces: Who are some other favorite performers you’ve worked with?
Miss Scorpio: There’s definitely a family of performers that I book again and again. Sxip Shirey is an absolute genius composer and musician, and every time he plays I’m excited to hear it, especially when he performs with the incredible beat-boxer Adam Matta. The Love Show dancers are wonderful, they combine classical dance training with a cabaret attitude and fantastic costumes. Shayfer James is a terrific dark rock musician who deserves a much bigger audience than he’s getting. Sometimes I take on artists as a personal cause, and keep booking them until people realize how incredible they are.

G&S piano

brooklyn spaces: Have you ever had someone get so big that they outgrow your parties?
Miss Scorpio: Yes! After I booked the Hot Sardines for my Lincoln Center Midsummer Night’s Swing two years ago, their career has exploded and they are now booked constantly. That’s happened with a bunch of circus people I used to book as well. But it’s a good problem to have. I’m very proud of my talented friends.

brooklyn spaces: Okay, let’s talk about this space. How long did you spend looking for it, and what shape was it in when you found it?
Miss Scorpio: Four years of constant searching, and in the end it was a random Craigslist find. The moment I walked in, I knew this was it, even though it was completely wrecked. There was plywood over all the windows, the floor was rotted in multiple places, there were strange pipes everywhere, the ceiling was half rotted out, there were signs of a recent fire. It was terrible.

a few months after move-in

brooklyn spaces: How long did it take you to get it into shape?
Miss Scorpio: First there were two months of just demolition. Everything you see, all the walls, we did it all. We re-laid much of the floor, using wood repurposed from other parts of the space. Once we got bathrooms up—with walls—I knew I was ready to let people in. The first party we did here was Swing House, one of my 1920s remix parties. Everybody loved it, but it was a party in a construction zone.

fixing the rotted floors

brooklyn spaces: Tell me about some of the non-party events you’ve had here.
Miss Scorpio: We’ve hosted a few lectures in conjunction with Observatory that have been great fun. We had one called “How to Trespass” with Wanderlust Projects, and another with my boyfriend, lexicographer Jesse Sheidlower, called “Sex in Dictionaries.” We just had a storytelling event, “I’m Tawkin’ Here,” which was all New Yorkers and New York stories. Brooklyn Swings does a weekly swing-dancing class. We hosted an immersive, participatory version of Midsummer Night’s Dream staged by Shakespeare Shakedown. I’m always looking for people who are doing innovative, interesting things and could benefit from having access to an affordable art space.

Meet Me in Paris Cabaret, photo by Binnorie Artwork

brooklyn spaces: What’s your relationship like within the rest of the underground arts community? I feel like, of everyone I’ve interviewed, you really know every single person in the creative class in Brooklyn.
Miss Scorpio: It’s an extremely tight-knit community. It’s not just me; I think we all know each other. But because I do the event listings, I have a good sense of what everyone is up to. Even if I don’t know someone personally, I can tell you what arc their work has taken over the last ten years.

G&S rooftop view

brooklyn spaces: Last year when you and I were doing Occupy Sandy volunteering together, you told me you once did the listings on your phone from Paris.
Miss Scorpio: Oh yeah. Another time I did them from a tethered connection in an RV on the way to Burning Man. Everywhere I’ve traveled, I’ve brought the listings with me. I consider it my community service, a way for me to give back to the people who trust me and honor me with their presence at my events.

G&S rooftop art

brooklyn spaces: What advice would you give someone who wanted to do what you do?
Miss Scorpio: I’d say definitely don’t get into it for the glamour! Ninety percent of what I do is spreadsheets and emails. Maybe by 11 or 12 on a party night I’ll finally get to get into costume and have a few hours of fun, but for the most part it’s a job like any other. For me the payoff is conceiving something and then seeing it become a reality.

brooklyn spaces: What are your plans for the future—ten more years of this?
Miss Scorpio: Oh gosh, I don’t know. It does seem like I’m pretty committed to the New York cultural underground, but I couldn’t tell you what will happen in my life in the next ten years. I hope it’s big and exciting.

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Like this? Read about more underground nightlife: Rubulad, the Lab, Red Lotus Room, Newsonic, House of Yes, Gowanus Ballroom, 12-turn-13

For most of its run, Dead Herring—an apartment that sometimes doubled as a DIY music and occasional theatre space was fairly averse to any sort of press. That’s just part of the fun of running an underground apartment venue—some measure of paranoia is often called for. But Dead Herring closed Feb 1st, 2013, right after an amazing commemorative closing show, featuring the Immaculates (a band that was formed at a Dead Herring party), Moonmen on the Moon, Man (who broke up and then reunited just for this show), Necking!! (one of the Dead Herring creators’ band), and special secret guests.

Cuddle Machines, photo by Nicki Ishmael

Read my interview with housemates Liz, Nicki, Jeff, and Andrew, which took place on the eve of the end of Dead Herring, below. For more pix from Nicki, there’s a terrific six-year DH photo retrospective at Impose Magazine. And be sure to check out their new space in North Williamsburg, Cloud City!

show posters, photo by Maximus Comissar

brooklyn spaces: Tell me a quick history of how this all got started.
Jeff: Liz and I went to college together in California, and we both lived in this co-op called Cloyne Court Hotel in Berkeley that used to have shows in the kitchen, in the basement, wherever. The first time I went there Nerf Herder was playing, and I was like, “Whoa, this place is awesome! I’m moving in here next year!”
Nicki: My band played there once, it was like nothing I’d ever seen before. There were kegs in the quad, there was a room no one could go into, there was the most disgusting bathroom I’d ever seen in my life, it was covered in graffiti, and just everyone going crazy and hanging off pipes. It was so cool.
Jeff: And then years later I wound up living across the hall from Liz and Nick in the McKibben Lofts.
Liz: Nick and I are the ones who started Dead Herring. We had a couple of shows at McKibben, and when we heard about this space, we thought it would be great place to continue to do that. Nicki moved in six months later, and Jeff moved in in 2008, and Andrew moved in two years ago, in 2010.

Bare Wires, photo by Nicki Ishmael

brooklyn spaces: What was the first show?
Nicki: It was Maneguar, Pterodactyl, Golden Error, Marvel & Knievel, and Nonhorse.

brooklyn spaces: Do you all book shows?
Liz: I don’t. Nicki books all the music now, Jeff does the variety shows, and Andrew has brought some plays in.
brooklyn spaces: Nicki, is there a succinct way to characterize what kind of music you book here?
Nicki: No, not really. We used to have a lot more experimental noise shows when Nick lived here, because he was into experimental noise music and he booked that. I’m more into punk and rock and indie pop. I don’t know, it just depends on what comes together. If there’s a band coming through that we know, we’ll book around them. Or if we see a band we really like we’ll tell them to come play here. It used to be easier for bands to find us when we used the MySpace page, but that just became too much, we were getting like fifteen emails a day. None of us is a full-time booker, you know? When I have ten minutes I’ll IM people, like, “Hey, you want to play a show?”

photo by Maximus Comissar

brooklyn spaces: Tell me either the coolest or weirdest thing about living in a place where there are shows.
Nicki: A funny thing is that people don’t realize that we live here. People come here for shows and then they’ll come over for a potluck and be like, “Oh, wow, it looks so different. I didn’t know you had a couch.”
brooklyn spaces: I think that’s part of the charm of these spaces, that you know while you’re watching this band you’re sitting on the roof of someone’s closet or washing your hands in their kitchen sink.
Jeff: Did you read the article about the new Silent Barn in the Village Voice? They were saying how most DIY spaces are illegal, like no one can talk about it, which has kind of been our thing. But now the Silent Barn is like “No, this is completely legal.” They’re going to get a liquor license and whatever. One of our old roommates, Joe, who’s part of Showpaper, he lives there now.
Andrew: I had a lot of conversations with Joe when he lived here about this whole thing, about how all these spaces are somewhere along a continuum, like how much are they a house, and how much are they a venue? Silent Barn has always been basically a venue, even though people live there. We’re really a house that has shows once in a while.

Golden Error, photo by Nicki Ishmael

Nicki: We have to tell people all the time that they can’t have their birthday party here, or their mud-wrestling party. We’ve gotten a lot of weird requests over the years. But overall it’s fantastic, this house pretty much made my life in New York. I met all these people, I found something to do and a community to be in. I had no idea there was a music scene that was this small and this amazing here. You have these moments where you realize this is happening in your life and you created it and you’re a part of it. It makes me so happy. It’s so great when you have a whole bunch of bands come in at the beginning of the night, you’ve never met any of them before, and at the end of the night they’re all giving you giant hugs and saying this was the best show they’ve ever played. It’s so amazing that we had the opportunity to do this.
Jeff: People really appreciate us just trying to make an awesome, fun night, and when everybody’s stoked on it, it’s a good feeling. It’s great when really talented, amazing people have a great time performing here.
Andrew: We just had a theatre show that did a three-night run, and It was like we were living in this little theatre that everyone was a part of. I don’t know if you could achieve that in any other setting.

photo by Maximus Comissar

brooklyn spaces: Do you think that being in Williamsburg has affected the space?
Nicki: I really like that Death By Audio is so close, and 285 Kent, and Glasslands. It’s nice that there are still a few really good spaces around here. And I feel like living off the L and the J is convenient, a lot of people can come out to shows here. I don’t always want to go all the way to Bushwick, but people seem happy to come all the way out here, which is awesome. Jeff’s shows get put up on the Nonsense NYC list sometimes, and people come here from wherever because they’re like “Oh, I know where that is, I can get there.”
Andrew: For a performing arts venue it really makes a difference if it’s in a part of town that people want to go to.

Teenage Nightwar, photo by Nicki Ishmael

brooklyn spaces: And it’s nice to see that there are still places like this in Williamsburg. A lot of people think that all the creativity is gone from this neighborhood, but that’s not true. It’s just a little harder to find. Anyway, tell me about some of your favorite shows.
Nicki: My favorite “I can’t believe I actually pulled this together” show was when Forgetters played here, Blake Schwarzenbach of Jawbreaker’s band. So many people I know have loved his music since we were like sixteen years old, and he played in my living room! And we had this band called Leg Sweeper come, they played with our friends’ band Sleepies, and they were so excited about playing here, and we were so excited about having them play, and after the show we all hung out until 5 in the morning, and everybody slept over, and we made waffles in the morning, and it was magical. Or another one, after The Men played, we had a limbo contest with the guys in the band, which was so ridiculous and fun. I think the craziest show we ever had here was Calvin Johnson and Chain and the Gang. When I introduced Chain and the Gang, everyone just freaked the fuck out.
Liz: That show was my teenage dream come true. I was so thrilled, I couldn’t believe he was in our house. He got here early, and we were trying to set up, and our old cat was sitting on the bar, and he sang a song to the cat! It killed me. My other favorite moment was when Social Studies, our friends’ band from San Francisco, played last year. Right before they started to play my favorite song, someone cut in and said, “We just found out the Giants are going to the World Series.” The whole crowd was full of people from California, and everyone was so so so excited.

photo by Maximus Comissar

Andrew: I’m from Minneapolis, so when our friends’ theatre group came from Minneapolis to do their play, it was really exciting for me to get to share this space with them. They used to live in a space like this in Minneapolis, and one of them had a space like this in Baltimore before that where my theatre troupe performed, so being able to return the favor was really gratifying.
Jeff: I like all the variety shows, I guess. Oh and Reggie Watts, that was awesome. And Corn Mo.
Nicki: And the ventriloquist! And the magician who sawed a woman in half! And the guy from Cirque de Soliel who took all his clothes off and climbed all over the entire audience! And the lady who juggled with her feet! I know it sounds like we’re making this stuff up, but we’re not.
Jeff: Yeah, we’ve had some crazy stuff.

Hunters, photo by Nicki Ishmael

brooklyn spaces: What advice do would you give to other people who want to do something like this?
Nicki: Be nice. That’s something we try really hard to do. Now we’re friends with all the bands and performers and other DIY spaces in the city. That’s why we’re not super nervous about going into the new space. We feel like we’re not going to be alone, because all these other people are going to support us. All the DIY spaces are kind of in it together.
Jeff: Yeah, it sounds cheesy but we really feel like we’re part of a community. And we’re good at welcoming people in and having a positive vibe about everything.
Nicki: That makes it a lot more fun for everyone. We want to have fun too!

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Like this? Read about more apartment performance spaces: Silent Barn, The Muse, Cave of Archaic Remnants, The Schoolhouse, Greenroom Brooklyn, Newsonic, Jerkhaus

Photo from Monthly Brand

The Clockworks Puppet Theatre is in trouble. If they don’t receive a miracle in the form of a cash influx very very soon, the theatre will have to close its doors. It’s the same sad story, and one of the reasons I started this site: rents are rising, landlords are greedy, and the first casualties are always the artists—the very people who made the neighborhood an exciting place to be, and the reason for the soaring housing costs. Clockworks is an amazing, incredibly unique space that offers a home for experimental performance in a city going increasingly monocultural, and it would be such a shame to see them go.

photo by me

There’s one final performance of Das Wonderkammer Puppet Kabarett—Save the Clockworks Edition tonight (9/29), which I very strongly encourage you all to see, as it may be your last chance. If you have the means to donate to the cause, get in touch with Jonny Clockworks to help save an incredible piece of Brooklyn creativity from extinction. If they can keep their doors open for the next couple of months, Jonny promises a whole slew of amazing offerings, including a month of Halloween celebrations, more kids’ workshops, plenty of cabarets, and on and on. Help if you can!

Photo from Jonny Clockworks' Picassa

A bit more about the space:

The Cosmic Bicycle Theatre was started in Boston in 1989 by Jonny Clockworks, a puppeteer, director, and experimental musician. In 1995 he moved into a space in the East Village, on East 12th St., right across from Old Devil Moon. They were the only ones on the block, and Jonny says they formed a kind alliance, with the restaurant feeding him some nights when he was less than flush. In 1999 Jonny was forced out due to skyrocketing rents, and after several years of a nomadic existence, he moved the whole shebang to Red Hook in 2011, opening both the Cosmic Bicycle Theatre and the Clockworks Experimental Puppetry Studio.

Jonny Clockworks, photo by Hannah Egan for Brooklyn Daily

The new space was conceived as a home for experimental puppet shows and performances at night, and during the day a workshop space for children’s activities. The theatre has incredible events, such as the recurring Das Wonderkammer Puppet Kabarett, Kidz Vaudeville matinees, Junior Puppet Master workshops, and Halloween Hell Kabarett, as well as single events like Netherworld and a collaboration with Norah Jones set to her album Little Broken Hearts.

Photo from Jonny Clockworks' Picassa

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Like this? Read about more theatres: Bushwick Starr, Chez Bushwick, South Oxford Space, UnionDocs, Spectacle Theatre

Vaudeville Park is a plucky arts venue with wildly diverse programming. It sits right on the borderline (at least, the current one) between Williamsburg and Bushwick. Run by experimental composer and multi-instrumentalist Ian Colletti, Vaudeville Park has shows nearly ever night, including all kinds of music (from synth to neo-chamber to ladies of experimental music), literature, film (from Noir Night to avant garde), dance and performance art, gallery shows, comedy, discussions, workshops (from yoga to circuit bending), and more. The space has been active for almost four years, and is now starting to get a lot of attention from the media, including regular mentions from the likes of Time Out New York, Brookly Vegan, Artcat, and Rhizome. Ian is one insanely busy guy who is also incredibly passionate and enthusiastic about the work he does. Check out my interview with him, and then please, go see something amazing at Vaudeville Park!

Ian Colletti, photo from Vaudeville Park's Facebook

brooklyn spaces: How did you get started with all this?
Ian: I’m from New York, born and raised, and I’ve been an artist and a musician pretty much my whole life. It felt like the early 2000s were a dark time for counterculture in Williamsburg. I mean, there was a lot of cool stuff going on for artists, but that was when groups like the Strokes and Interpol and Ambulance LTD, and really high-fashionisa galleries were huge. It was an appropriation of mainstream, cookie-cutter ideals into counterculture. It was like everyone who was in a band really just wanted to be a model in a Levi’s ad. Now artists have a chance to really represent themselves through their own savvy with the internet, but at that point there were just a few labels and magazines that promoted musicians. I was living with this guy from Fader magazine, and he was like, “Man, if you want to start your own weird art collective, you have to kiss these people’s asses.” I was like, No way. I just didn’t want to be part of this phony, arrogant, silver-spoon kind of thing. But I was really worried about the culture here, so in 2007 I stopped playing shows and performing, saved up as much money as I could, and turned my recording studio into an arts venue. The first show we had was Dreamtigers, by Brian Zegeer, who’s one of my best friends. He just headlined the Queens Museum “International 2012,” along with two of my other good friends, Ben Lee and Rachel Mason, both of whom have been really involved here. There’s an extreme synergy here that’s really important.

photo by Maximus Comissar

brooklyn spaces: Was it a nonprofit from the start?
Ian: Well, it was always nonprofit in its mission. We’re sponsored by New York Foundation for the Arts now; they picked Showpaper two years ago and they picked us last year. NYFA is good people, but we need our own 501(c)3, which we just went for, and we need to get larger grants.

photo by Maximus Comissar

brooklyn spaces: How do you pick your programming? Are you the only one who directs it?
Ian: Yes. Basically the mission of Vaudeville Park is to represent underrepresented artists of high craft. My goal is to pair the best minds and artistry and craft in music to the best visual and performance art. I really feel that people’s eyes have gotten bigger from constantly looking at things, but their ears have gotten much smaller. People don’t listen to records, they don’t really put effort into making records, and if they do it’s just ear candy, it’s less performance-based, there’s less heart and soul, it’s not as evolved. So I wanted to have a venue for counterculture music, like dark wave, coldwave, post-whatever, and new chamber and post-classical music. I felt that if I put the music in a gallery context, it would up the ante, like, “This music better be pretty damn good because these visual artists are so good.”

art by Alexander Barton, photo by Maximus Comissar

brooklyn spaces: So all the shows are music plus visual art plus something else?
Ian: Well, no. We have several different programs, and sometimes we combine them. There’s a gallery art program, with one show a month, either a group show or a few specific artists. Then there’s an archival film program, which includes one of our most famous shows, Noir Night. We’ve also had cartoon carnival stuff, we’ve had optics, we’re now working with the curators at Millenium Theatre and Anthology Film Archives, and we’re starting to have closer ties with the Kitchen. Then we have a TV program on Manhattan Neighborhood Network with my good friend Scott Kiernan, who does ESP TV. Then we have a performance art program. There are only four galleries and art spaces in New York City that host performance art. We’ve done a bunch of performances in the past, recently Esther Neff and The Penelopes and Performancy Forum. And finally we have the music program. We do workshops too, we’ve hosted a lot of extremely successful workshops, the biggest one that everyone constantly asks for is the electronics in music workshop for circuit bending. But we just can’t do it again without funding.

circuit-bending workshop, photo from Vaudeville Park's Facebook

brooklyn spaces: What about your own art? What kind of music do you play?
Ian: I do a lot of stuff, I’m a multi-instrumentalist, singer, composer. I was the first featured soloist in the Brooklyn Philharmonic Symphony Orchestra in November, and I made all these crazy handmade instruments and soundscape synthesizer stuff. I’ve done a lot of film scores, dance scores, music for fashion. I mostly do new works for chamber. The music that I’m doing now, the best way to put it is the orchestral coldwave height of pop that was never made. It’s like post-romantic coldwave blitz with eighteenth- to nineteenth-century post-classical music, and also a lot of Latin jazz and obscurities.

photo by Maximus Comissar

brooklyn spaces: Tell me about some of your favorite shows here.
Ian: One of my favorites was a Crystalline Flux installation, because one of the things I want to push for Vaudeville Park is doing something totally new, something that’s almost like a trip back to Bauhaus, or Kaprow’s Happenings, which were installations and events where a whole art space was transformed into a stage full of specific performers. So a bunch of my friends—Ben Lee of Beta Copperhead, Brent Arnold, Anthony Johnson, Caleb Missure, and Naomi Rice, who’s in a band Next Wave Festival—we transformed the whole space into a stage that would specifically fit one performer, kind of like a static music video. That was one of the most special art events I’ve ever been to. Also Noir Night is one of my favorite ones, I really think it works with the intention of the space. And I really like the Dreamtigers and Avatar Atavistic, and Myra Brim’s gallery show “April Sky,” and Christy Walsh’s dance piece, this flamenco classical guitar thing. I like pretty much everything here, it’s kind of a blur.

[below, from Ladies of Experimental Music: Leah Coloff, Meaghan Burke, and Valerie Kuehne; photos by Maximus]

brooklyn spaces: Let’s talk a little more about the neighborhood. Do you feel like being here on this weird cusp between Bushwick and Williamsburg affects the space?
Ian: Vaudeville Park is not a Williamsburg space, I’m not trying to make it “Williamsburg-y.” It’s the gateway to Bushwick arts, since we’re on the first block of Bushwick. During the last Bushwick Open Studios, the L train was down and we were the first place people saw. That’s a great festival, Arts in Bushwick works really hard.

brooklyn spaces: You’re getting a lot of attention from the media lately, but ultimately, this is a small space. Is there any worry you’ll get too well known?
Ian: No. Lots of shows here are really packed, but I’m trying to only do things that make sense in a smaller space. This is an arts venue, it’s done with no money but with the best programming and art possible. And by being good to people and treating artists well and believing in this community, you can go a long way. People who have run spaces like this, they do it for a couple years and then give up, and they have every damn right to, because it can be really hard and really frustrating. But what happens if you don’t give up? What happens if every time you think, “This is as far as I can go,” you’re like “Let’s go further”? What happens if we just keep expanding more and doing better? I’m really excited and happy to be doing this and to have all these special people involved. I’m really lucky.

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Like this? Read about more arts venues: Chez Bushwick, Gowanus Ballroom, Bushwick Starr, Monster Island, Bushwick Project for the Arts, Fort Useless

Update, spring 2015: Last winter, Vice magazine took over two adjoining buildings on the Williamsburg waterfront, evicting several underground spaces in one fell swoop: Death By Audio, Glasslands, and the Muse, which actually got pushed out due to construction before the end of their lease. Undaunted, the Muse family Kickstarted more than $60,000, and in April 2015 they reopened an enormous new space in Bushwick.

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The Muse is an aerialist performance and workshop space in South Williamsburg dedicated to fostering experimental creativity, and giving artists the space and time to try out new things. It was founded in late 2011 by Angela Buccinni, a dancer, acrobat, and aerialist, and Yuval Oz, a musician and acrobat.

Angela as a reindeer in Hot Frosty (photos by Maximus Comissar unless noted)

The space is a former garage for Domino Sugar, which Angela and Yuval built out from scratch—in only two months they did the living space with six rooms on two floors, an elevated stage, a bathroom, and a kitchen, as well as put in rigging points throughout the main performance area. They’ve gotten an outpouring of help from Williamsburg artists, and have a close partnership with Karen Fuhrman’s aerial dance company Grounded Aerial, of which Angela is also member. In addition to performances, the Muse offers classes and workshops in hand-balancing, acrobatics, silks, harness, trick ropes, kudayo, and lots more.

I was lucky enough to be invited over to the Muse for the dress rehearsal of Grounded Aerial’s first annual holiday show, Hot Frosty. I got to hang out with Karen, Angela, Yuval, and the rest of the incredibly happy and nice cast, plus Angela and Yuval’s collection of wonderful dogs.

Hot Frosty cast shot

brooklyn spaces: Karen, can we start with a quick run-down of Grounded Aerial?
Karen: Grounded does three things. We do corporate events, for companies like IBM, Microsoft, and H&R Block—the bigger the better. That tends to fund the second thing: our theatrical ventures, like Insectinside, which is an evening-length piece, equal parts dance, theatre, and aerial, and Hot Frosty, which is little scenes peppered throughout the evening, singing, dancing, aerial, over here, over there, above your head, on the stage, on the wall—it’s happening all around you as you’re hanging out drinking cocktails with your friends. The third thing we do is classes, which everyone should come out and take. They’re not only for dancers; anyone could put a harness on, even my mom. It’s an amazing workout, and it’s really empowering.

photo from The Muse’s Facebook

brooklyn spaces: What’s the link between Grounded and the Muse?
Karen: We support each other, we love each other. There’s a beautiful aerial community in Williamsburg, and Angela and Yuval having this space will really reinforce that community. It’s going to be an outstanding force.

brooklyn spaces: Angela and Yuval, what was your motivation for starting the space?
Angela: I think one of the main problems with trying to create art in New York City is that it’s so hard to survive financially that people can’t invest time in the creation process, to actually sit in your work, soak in it, develop it. With Grounded we do that a lot, we play with things, we improv, we throw things out, we get new things, we merge ideas. So part of the whole concept behind the Muse is that we want to support that kind of creation process, to ensure that there’s a place for people to do that.
Yuval: We really want to create an atmosphere for taking time for creation, for experimenting, a place when you can do everything and try everything. I think this is part of doing art.
Angela: We want it to be comfortable here, like you’re sitting in a living room, with no sense of judgment. We want that sort of calm energy, where it’s safe to go into the process and get lost in your art and feel okay, and to actually work off of the other things and people in the space.

brooklyn spaces: So tell me a quick history of the space itself.
Angela: That’s a long story. I had an outdoor dance studio in my backyard in Bushwick called Studio 43. We produced a few shows and then, do you remember the tornado we had last year? Well, it ripped up a tree from the lot next door and crushed everything. Around that time I was offered a tour that took me to Israel. One day while I was rehearsing there, this beautiful dog wandered into the theatre, and I jumped off the stage and just started hugging him. And Yuval came in looking for Shesek and found me. I think he had actually told Shesek, “Go fetch that girl.”
Yuval: That’s your version!
Angela: So Yuval and I hung out while I was doing the tour, and then I stayed in Israel. We almost opened the Muse in Tel Aviv; we were really looking, but we ultimately decided to raise some money with a Kickstarter and then come back do it here. A friend told us about this space, we came and we looked at it, and that was it. It’s amazing. There’s nothing in the cards to say we should be able to do this right now, but somehow we’re doing it. We have a long way to go, but it’s in motion. Whenever we don’t have enough money for the next thing, we have a show or a party to raise money. We had a ’70s disco party in November to pay for a hot-water heater.

Join the Circus Day (photo from The Muse’s Facebook)

brooklyn spaces: How many people are involved?
Angela: At least thirty, thirty-five people have popped in once or twenty times or a million times. It’s all artists, it’s like a big community. And it’s normally a social event; we cook together and then we build. Or I melt down and everyone hugs me and then we build. There’s a lot of that too.
Yuval: It’s a great way to discover new friends and good people.
Angela: We’ve had complete strangers come help us. People tease us that we’re basically building an artists’ kibbutz. And we’re always looking to expand it!
Yuval: Also we’re always searching for trades. People can come help us and then get free classes in hand-balancing, harness, silk, bungee, anything.

brooklyn spaces: Are you involved in the larger aerial and dance community in Brooklyn? Are people coming from House of Yes or Big Sky Works or Streb?
Angela: A lot of aerialists are involved, a lot of freelance artists. Yuval and I just received a grant from Streb to produce one of the pieces for his show. In my experience, aerialists are all allies, it’s not competitive or nasty.

brooklyn spaces: How has it been going with the build-out?
Angela: Demolition was a little harder than we thought.
Yuval: A lot of people ask us, like, construction is crazy, why don’t you just pay professional people for this? And we’re like, it’s not that hard. I mean, okay, it is hard, but it’s not that complicated, you just have to go step by step by step. Actually, we’re both glad that we didn’t know everything we would have to do before we get started, because we would have never done it.

photo from The Muse’s Facebook

brooklyn spaces: Do you think your creativity or your process is influenced by being in Williamsburg?
Angela: I think it’s more supportive here than it was in Bushwick. There’s more like-minded artists. I can call someone with an idea, and they’ll feed on it and fuel me. Or we know we’ll have the audience we need to fill the space.
Karen: Absolutely. Williamsbug just has a zest to it, a roughness, a rawness, a curiousness, a youthfulness that people feed off. It’s an amazing community. It’s really unique.

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Like this? Read about more aerial and dance spaces: House of Yes, Big Sky Works, Chez Bushwick, Cave

A.R.T. New York (the Alliance of Resident Theatres) has been supporting nonprofit theatre groups for forty years. They provide all kinds of services to their nearly 300 member organizations, like technical assistance, real estate loans, and access to shared office and rehearsal space—which is where South Oxford Space comes in. A lovely old building in Ft. Greene, South Oxford Space rents office space to twenty different theatre organization, as well as larger rooms for classes, workshops, meetings, rehearsals, and small performances.

White Bird Productions' "Creative Theatrics" workshop, photo by Stephanie Bok

Check out their fascinatingly diverse group of tenants, and then read on for my interview with Stephanie Bok, South Oxford’s operations manager!

• ActNow Foundation Develops, promotes, and produces works by artist of color in theater and film.

ActNow's "New Voices in Theater" reading series, reading of "Secrets of a Black Boy" by Darren Anthony

• American Opera Projects Produces contemporary operas and commissions new work.
• The Civilians Creates investigative theatre, developing new works based on contemporary and political topics.
• Elders Share the Arts Conducts and fosters programs that honor and draw on the life experience of older adults and encourage their creative expression.

• Elevator Repair Service Creates original performance pieces based on and around found texts, found objects, literature, and history.

Elevator Repair Service rehearsing "The Select," photo by John Collins

• Encompass New Opera Theatre Produces music theatre pieces and contemporary operas.
• Lone Wolf Tribe A theatre ensemble composed of Kevin Augustine and his exquisitely grotesque puppets.

Jessica Cruz in Modern-Day Griot's "Lyrics in Motion"

• Modern-Day Griot Theatre Company An interdisciplinary theatre company committed to moving the story of the African Diaspora forward via storytelling.
• New York City Players Creates original work about people, relationships, and, above all, feeling.
• New York Deaf Theatre Creates opportunities for the production of plays in American Sign Language.
• Nia Theatrical Production Company Produces new works by emerging artists and provides arts-in-education programs to the educational community.
• Page 73 Productions Develops and produces works of early-career playwrights who have shown commitment to the theatre but received neither wide public recognition nor substantial production opportunities.
• Ripe Time Develops and produces ensemble-based performances that navigate the terrain between dance and theatre, word and image.
• Shadow Box Theatre A children’s company that uses traditional Chinese shadow puppets to tell folk tales from many cultures.
• Target Margin Theater Experimental theatre company that reinterprets the classics.
• Trilok Fusion Arts A multi-disciplined company providing a forum for artists around the world to collaborate and create new and unique art with a focus on culture and tradition.

Urban Bush Women in their office

• Urban Bush Women An ensemble dedicated to exploring cultural expression as a catalyst for social change, synthesizing contemporary dance, music, and text with the history, culture, and spiritual traditions of African-Americans and the African diaspora.
• White Bird Productions Works with playwrights, composers and performers to develop and produce theatre that embraces issues of the environment and community.

brooklyn spaces: Do you come from a theatre background?
Stephanie: Yes, I’ve been in theatre all my life. I write and produce my own shows, and I work with several of the groups here. I’m a staff writer for American Candy, I work with White Bird Productions as a teaching artist, and my one-act plays have been produced by American Theatre of Harlem and ActNow.

Trilok Fusion Arts' FGA House Tour, photo by Stephanie Bok

brooklyn spaces: So you really understand the struggles theatre groups go through. Is there a lot of interaction between the different organizations in the building?
Stephanie: The tenants have certainly done collaborations, and there’s also sharing of resources—they’ll hire the same lighting designer or use the same actors. It definitely feels like a community, because these are really active go-getters who are at the heart of what’s happening in New York City theatre right now.

Music Together's "Babies Only" class, photo by Havalah Collins

brooklyn spaces: So when new tenants are coming in, do you look for groups that will fit the fabric of the community that’s already here?
Stephanie: They don’t have to necessarily “fit in,” but they do have to be a theatre-producing nonprofit organization that is a member of our network. We really value the diversity we have here with the different types of companies. We want everyone to feel welcome, and A.R.T. New York definitely doesn’t judge anyone’s work.

Rainmaker and Jessica Isa Burns in Modern-Day Griot's "Lyrics in Motion"

brooklyn spaces: What are some of your favorite groups that have been through here?
Stephanie: I can’t really pick favorites, but I can say that I’ve been very privileged to see some amazing theatre come from the groups that rehearse and have offices here. It’s really exciting to see snippets of the rehearsals, to get to know the actors as they’re coming through in their sweatpants, and then go see the show all put together, with great sets and everyone in their costumes and makeup. I just saw Ripe Time’s show last night, which was amazing, they do really beautiful work. I’m looking forward to The Tale of Frankenstein’s Daughter that Rabbit Hole Ensemble has been rehearsing here. I also really love when Christopher Bayes’ Funny School of Good Acting has clown classes here, it’s great to hear all the yelling and carrying on.

City Kids Dance! class with Dina Gray, photo by Andrea Ryder

brooklyn spaces: Do you feel like this neighborhood or Brooklyn in general has an effect on art and performance today?
Stephanie: This building has definitely seen a wider variety of uses than the other A.R.T. New York building, which is in Midtown Manhattan. We have someone who sells Mary Kay cosmetics, we have a woman who has a prom dress giveaway every spring, we’ve got a group that’s been doing a church service in the Great Room every Sunday for nine or ten years. The Greene Hill Food Co-op and Community Board 2 have used the Great Room for meetings. We have kids’ music classes here six days a week, Music Together of Ft. Greene and Music for Aardvarks; we’ve got a group called City Kids Dance! that does ballet and superhero classes. There’s such a variety of things that happen here, it’s kind of became a neighborhood institution.

American Opera Productions in their office

brooklyn spaces: What are your goals for the future of the space?
Stephanie: My mission over the past few years has been to try to get more and more theatre-type things in here, and to really focus on A.R.T. New York’s mission of promoting theatre in New York City. And just moving onward and upward, making sure that the rooms are in use all the time, promoting the space as somewhere to come and rehearse, to do a staged reading, a performance, that kind of thing. Just really having this identified as a space where theatre is made in New York.

***

Like this? Read about other theatre & performance spaces: Bushwick Starr, Brooklyn Lyceum, Cave, Chez Bushwick, Clockworks Puppet Studio, UnionDocs

Chez Bushwick, an artist-run dance studio and performance space, is one of the vanguards of the modern incarnation of Bushwick as an artist haven. Founded by choreographer Jonah Bokaer and cellist Loren Dempster, Chez Bushwick started out as a practice studio in an industrial loft, a place to give experimental dancers and choreographers room to gather, collaborate, practice, and create. Almost immediately they started hosting performances in the space, and it became a general gathering place for artists and creatives. I’ve seen at least a half-dozen shows there over the years—I used to live around the corner from Chez Bushwick, and it was one of the spaces that made the neighborhood magical.

Chez Bushwick rehearsal studio, photo from New York Social Diary

By 2008, Chez Bushwick had become a nonprofit, and since the craziness of Bushwick was already on the wane, they shifted their focus and began a partnership with the new LEED-certified dance space Center for Performance Research, which was cofounded by Bokaer and John Jasperse of Thin Man Dance. Now most of the performances happen at CPR, and Chez Bushwick is primarily used as a studio for dance rehearsals, artist workshops, and classes in yoga and capoeira. They have an annual program called Chez Bushwick Presents—an artist-run performance series highlighting work by emerging artists—and host some performances during festivals like Arts in Bushwick’s Beta Spaces, Bushwick Open Studios, and SITE Fest. Chez Bushwick also does community youth outreach in conjunction with the Coalition for Hispanic Family Services, among others.

photo by Michael Hart, from BushwickBK

According to Bushwick BK, “Chez Bushwick is a neighborhood arts anchor, an ambassador… for Bushwick’s creative community, and above all, a great place to hang out with your neighbors and watch some cutting-edge performance. It’s location is fitting: Chez Bushwick manufactures culture.” I couldn’t agree more.

Folk Feet, photo by Michael Hart from Brooklyn Arts Council

Q&A with Christina, program manager, and Lindsay, studio manager

brooklyn spaces: What are some favorite shows you’ve done or seen here?
Christina: About a year ago we produced David Wampach’s Bascule. He’s a French choreographer, and he came and rehearsed at Chez Bushwick with three New York–based dancers—Michelle Boulé, Liz Santoro, and Brian Campbell—and then the show was presented at CPR. It was a massive amount of work, but it was phenomenally well received, and it was really exciting to see. I also love Konic Thtr, whose show we co-produced at the CPR. They’re from Spain, they work with technology as much as with choreographers, and it’s very visual, they have a lot of projections, they’ve got a live-feed video mixed in with the movement. Otherwise I’m always delighted to work with a range of different artists who are all very inspiring and exciting. In the past year, just to name a few, we’ve worked with Anya Liftig, Tatyana Tenenbaum, and Ivanova Silva, who put together a show featuring choreographers and performers from Latin America, Japan, and Europe. I was so thrilled to see our small organization represent such a spectrum of perspectives.
Lindsay: For the last Bushwick Open Studios I was given the opportunity to bring together some performing artists, and that was wonderful. There’s something really free about that event, and the casualness of presenting really personal, important art that can and does exist without a lot of production.

Anya Liftig performing during Bushwick Open Studios 2011, photo by Christina deRoos

brooklyn spaces: What unites all the different work you present and support?
Christina: We’re definitely focused on contemporary choreography and performance, and on experimentation. We try to give artists full creative freedom, to support artists at all career stages, and to really look at what’s pushing the field forward, in terms of different approaches, different types of collaboration, uses of technology, or anything else.
Lindsay: The artists I’ve seen come through here have all been asking questions with their work. They’re not conserving or memorializing any kind of past ideology about art making; it’s all of the present.

Konic Thtr performing at CPR, photo by Christina deRoos

brooklyn spaces: What are your thoughts about being an arts organization in Bushwick these days?
Christina: I’m incredibly thankful overall to Bushwick. This is by far my favorite community I’ve ever been a part of. I came here a few years ago, along with many many many other artists who were leaving Dumbo, and it was incredible, there was an energy you could feel, creativity and freedom and openness and a real lack of rules. Now we’re all very aware that things are shifting. It feels like a loss of youth, even though I’m well aware that this neighborhood was here for a long long time before we came in, and it’s fraught with all the things that come with gentrification. But I can hold many truths at once, and among them is a sense that this is a very special time and place, and I remain, depending on the day, more or less hopeful about what the next phase might be. But there’s no doubt the dynamic has changed, and that changes not only the individual experience, it changes the creative output of this neighborhood, which impacts the city as a whole. What makes an organization like Chez Bushwick and the many other small nonprofits incredibly important is that this is where things begin. If you don’t have a very supported, open atmosphere at this level, then what you end up with at BAM is not going to be very interesting.

Andrew J. Nemr tapdancing, photo from Greenpoint Gazette

brooklyn spaces: What are your goals for the future of the space?
Lindsay: Dancers often have residencies out of town; you generally need to leave in order to truly dedicate time to what you’re doing. So we’ve been talking about ways to provide something like a staycation, but a stay-residency, to give people the opportunity to be at home, in their home space, and have their art in the same locality. There’s such an extraordinary need for that, especially for those who are just starting out. You can work in the dance field for a long time and still have very little support.
Christina: We’re also looking at improving the studio itself. We redid the floors this summer, we got a grant to put in soundproofing from the Mertz Gilmore Foundation, who are just phenomenal. Also we’re looking at new ways to give support to people for whom maybe this is the first support they’ve ever gotten. I really want Chez Bushwick to help artists realize that if you get out of bed and feel good about the work you’re making, or even if you feel crappy but know that’s part of your process, that’s success. I want us to acknowledge people and the work they’re doing, to be a voice for everyone who says, “I’m not staking my entire life on ending up in MoMA; I make art because it’s a way of life.” I think that’s probably the biggest cultural driver we have. I just want to tell everybody: “You’re good! You’re doing amazing stuff! You’re driving this city! Nobody’s patting you on the back for it, but you are.”

student preparing for Nation of Nations peformance during CHFS’ Arts & Literacy Street Festival in Maria Hernandez Park, photo by Christina deRoos

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Like this? Read about other performance spaces: Vaudeville Park, Cave, Bushwick Starr, Clockworks Puppet Studio, Cave of Archaic Remnants, South Oxford Space, The Muse

The Trinity Project is a fantastic, pioneering nonprofit organization working to integrate artists more completely into the communities where they live. It’s an alliance between East Williamsburg artists, the Most Holy Trinity–St. Mary’s Parish, and the Saints Joseph and Dominic Catholic Academy, wherein artists are given subsidized studio and rehearsal space in exchange for community service, whether tending the grounds, staffing church events, or teaching art to the students at the school. It’s a fantastic rebuttal to those who think artists insulate themselves within their neighborhoods, and proof that community alliances are possible across racial, economic, and even religious lines.

To get involved with them (they’re always looking for volunteers), email info@thetrinityprojectbk.org. But first read my interview below with Monica Salazar, who co-founded the project with Megan Tefft.

The lead photo is of Janice Purvis’s studio, taken by c. bay milin. For more from c. bay (who took many of the photos below as well), check out cbaymilin.com.

Trinity Project artists at Most Holy Trinity sanctuary

Bike-In Movie, photo by c. bay milin

photo by James S. Rand

brooklyn spaces: What gave you the idea for this project?
Monica: I read an article in the New York Times about the Church of the Messiah in Greenpoint, which rents out their basement for events like F.E.A.S.T., and their choir lofts for band rehearsals. I also knew St. Cecilia’s was doing something similar. I’m a musician and I have a background in theatre and dance, and I just thought that was so cool. I’ve lived in this neighborhood for years, and I’d always walk by this church, although I’d never been inside. So I emailed the friars and asked if they had any extra space, and they responded immediately and were really interested. So we decided to come up with a barter program, and just started filling up the space. We have bands practicing at the empty church, we have twenty visual artists in this building, we have a rehearsal room for different dance and theatre groups. We threw a benefit on the roof, we built a gallery upstairs.

Pre-K students in a Halloween mask-making class

brooklyn spaces: What do the artists do in return for the space?
Monica: Lots of different projects. A lot of them maintain the buildings or the grounds, or for example there was a parishioner centennial birthday at the church and we had some artists do the decorations and make a video montage. We also found out that the school on the other side of the church—Pre-K through eight grade, 260 kids—had zero art education. So about ten of the visual artists have been helping out there, and that’s where the program is working the best. At this point we’re actually braided into the curriculum; we aren’t an after-school program, we’re actually there during the day with the kids. It’s really cool.

photo by c. bay milin

brooklyn spaces: How do you decide who’s going to do what? Do you have artists with teaching backgrounds?
Monica: Some do, some don’t. As we’ve progressed, we’ve come to realize the type of people we’re looking for, which is a hybrid of high-caliber art and commitment to community service. This isn’t a coddling artist’s residency; everybody does all the dirty work.

Lotte Allen, photo by c. bay milin

brooklyn spaces: Tell me about some of the events you’ve had. You were involved in Bushwick Open Studios, right?
Monica: Yeah, for the last two years, and we had our own open studios last fall. We’ve done face-painting booths and such at street fairs. Last summer we had a series of concerts and movies at Saint Mary’s.

photo from Trinity Project's Facebook

brooklyn spaces: So it’s all been really successful?
Monica: Definitely. But this is a funny time. The church is being sold, and we’re going to be out of this building, so we’re majorly condensing everything we do. We’re going to refocus, distill what we’ve been doing into what’s working the best, which is working with the kids. We’re going to reduce it to four visual artists and four theatre, dance, and performing arts groups.

Spring FUNdraiser, photo from Trinity Project's Facebook

brooklyn spaces: Was it hard to cut down the artists?
Monica: Yeah. But we’ve always been very honest, they always knew it was only a month-to-month arrangement. There’s not really a precedent for this kind of program; we’re just making it up as we go along. It’s exciting that we’ve been able to be in this building for fourteen months; that’s longer than we’d anticipated. And we’ve definitely secured our relationship with the church, with the school, and with the diocese, and we’re working on leasing a building of our own.

brooklyn spaces: Do you have a favorite event that you’ve done?
Monica: Well, one of the challenges of this project has been that we’re not a religious organization, so the religious community and the artistic one are not always easy to bring together. But one really successful event was a holiday concert we had in the sanctuary. It was a mix of church performers and artists. Friar Timothy sang, one of the other friars emceed, this awesome church organist played, and the mostly Dominican church choir performed—they were incredible, they blew us all out of the water. On our end were mostly experimental bands doing their take on traditional Christmas music. There was one psychedelic band that was jumping around the altar, whipping stuff around their heads, and at first I was nervous, but the friars were into it. It was such a bizarre night, but really wonderful.

Trinity Project founders at St. Mary's Cathedral

brooklyn spaces: Have there been any problems between the two communities?
Monica: Well, we’ve been extremely emphatic with our artists about being respectful to the community that’s hosting us. I know young artists can be over-bold with their strokes, but this is just not the place for certain kinds of provocative art. I don’t mind it personally—I’m always intrigued by things that push the envelope, and I think that’s part of what artists are here for—but if it’s overtly anti-religious or über-sexual, we’re just not the home for it.

Pia Murray, photo by c. bay milin

brooklyn spaces: Are there other neighborhood organizations you work with?
Monica: We work closely with Chez Bushwick and Center for Performance Research. We also have relationships with the Pratt Center, Graham Ave Business Improvement District, El Puente, Saint Nick’s Alliance, and OurGoods.

brooklyn spaces: Had you been looking for an opportunity to bridge the gap between the artists and the neighborhood community?
Monica: Yeah. I lived on Broadway and Graham for six years, and I think it’s always been a little easier for me because I’m ethnic, but my roommates would complain about feeling uncomfortable, or that they made other people in the neighborhood uncomfortable. It just seems so silly to me, but it’s valid, there’s fear on both sides. So this was an awesome opportunity. I also really love church architecture, even though I’m not particularly religious. Plus, artists and the church have a very long, complicated historical relationship, so it wasn’t anything new to combine them. This church happens to be Franciscan, which is very liberal, philosophical, super educated. And the friars that we work with are the best. They’re really, really cool guys.

Like this? Read about more community groups: Trees Not Trash, Bushwick City Farms, Brooklyn Free Store, Body Actualized Center, Time’s Up

update, summer 2014: In sad but of course not shocking news, the House of Yes lost their East Williamsburg lease in August 2013. (If you want to take a look back, the Atlantic has an awesome piece on all three incarnations, from Bed-Stuy to Ridgewood to East Williamsburg.)

But why get nostalgic? House of Yes 4.0 will be opening in Bushwick the fall! Want to help make it happen, and get some wild and incredible rewards to boot? Donate to their Kickstarter, and help keep the Brooklyn underground alive.

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I am really overjoyed about this post, because House of Yes is actually my very favorite space in Brooklyn (so far), and one of the spaces that inspired this whole project. It’s an aerialist training facility and performance venue in a huge former ice warehouse, and they put on the most high-energy, high-caliber, innovative and astonishing shows I’ve seen. They make all their costumes onsite and build their own sets, they collaborate with Brooklyn bands for live musical accompaniment, and every show is just spectacular, bristling with staggeringly talented aerialists, trapezists, fire-dancers, contortionists, burlesque acts, singers, and musicians.

Anya Sapozhnikova

Besides putting on phenomenal shows in a fantastic converted warehouse—in one of the most vibrant corners of East Williamsburg, down the block from 3rd Ward, Werdink, Shea Stadium, the former Bushwick Project for the Arts and Bushwick Music Studios, and more—many of the House of Yes gals make up the loose conglomeration of female acrobats Lady Circus, and they are tireless, performing at all the best underground Brooklyn parties and Manhattan cabarets, like Shanghai Mermaid and Café Panache, among many many others. And the mainstream world is taking notice: the Lady Circus performers were featured as a costume-design challenge on the incredibly popular show Project Runway in 2011!

Don’t you want to hear from the woman responsible for it all? Read on for my interview with Anya Sapozhnikova, founder of House of Yes and Lady Circus and crucial fixture in the Brooklyn underground performance scene.

photo from designglut.com

brooklyn spaces: I first heard about House of Yes when it burned down.
Anya: Yeah, that was our first space. The thing about the fire was that it made us realize that people really cared about what we were doing, and the mobilization of the underground scene in Brooklyn and beyond really blew us away. Our friend threw us a benefit party at Pussycat Lounge, and all the underground parties that were happening that night canceled their events and moved everyone there. The benefit was immensely successful, and we went from having nothing—we were all homeless, all of our shit was gone—to being able sign a lease on a new space.

Circus of Circus

brooklyn spaces: Was House of Yes originally conceived as a studio and teaching space, or was it always a performance venue?
Anya: The old space was just “Let’s do this and see what happens.” The new space was always going to be a venue in the evening and a training and rehearsal space during the day. Upstairs we also have a sewing studio, Make Fun. To be able to flourish and produce as much work as we want to, we need every square inch of the space making money all the time. We aren’t like, “Oh, we’re DIY culture, we’re going to dumpster everything.” Sustainability’s great, but we’re really excited about doing high-production-value shows, we want to do the best we possibly can, and we don’t want money holding us back. We have this state-of-the-art facility that enables us to create a show from start to finish, from sitting down with all your friends and working out the concept to having a sold-out closing night. What makes it so beautiful to me is that we concentrate on every single aspect: the costuming, the rehearsals, the movement, the sound, the promotion, everything. To me, live theatre is the most all-encompassing, the most mixed-media way to produce art. So in order for us to do our best, we’re always thinking about how we can generate income so these things can keep happening and we can keep growing.

The Wonderneath

brooklyn spaces: There’s a lot of these types of spaces around, but I feel like House of Yes is more intentional, and the caliber of shows here is higher. Do you think that’s partly because you have such a multifaceted facility?
Anya: I think we’re just really ambitious. There are a lot of different people involved and everyone just brings a huge amount of passion. Everyone involved in the space is so hands-on. We know what we need, there’s always an open dialogue, and it’s just a really tight group of friends who are all really, really ambitious.

New Faux Fashion Show

brooklyn spaces: How many people are involved in the day-to-day running of the space?
Anya: I don’t know. A lot. Nikki and Airin run Sky Box, which is the aerial component of the space, and that’s classes, workshops, training, rehearsals. Tara and Kae, who’s my main partner in the space, they run the sewing studio. Kae and I do the majority of the booking. Hasaan, one of the original founding members, runs the sound studio.

AHOYA, student showcase

brooklyn spaces: How long does it take to put a show together?
Anya: Two weeks.
brooklyn spaces: Seriously?
Anya: Yeah. $piderman! was the most difficult thing I’ve ever done, and it was done in two weeks. In two weeks we wrote, produced, directed, cast, made costumes, figured out the craziest lighting you’ve ever seen, everything. It was a huge pain in the ass and it caused a bunch of nervous breakdowns, but I think everyone secretly enjoyed it.

$piderman: Turn on the Lights!

backstage during 2010's Christmas Spectacular

brooklyn spaces: Do you have a favorite show, or one that’s particularly triumphant or special?
Anya: I like them all for different reasons, but I think that the Christmas Spectacular is probably my favorite. For a lot of the people involved, it feels like you have a real family. Me and Kae curate it, and it’s just everyone we know who we think is talented and amazing who we want to hang out with for three weeks straight. People can do whatever the fuck they want, and we kind of guide it and arrange it. I realized it was my favorite show when I was standing backstage and there was an eleven-year-old boy dressed in drag next to a fifty-three-year-old transvestite dressed as a man, and they’re dancing their asses off and I’m holding this giant spotlight, getting ready to go on, and I was just like, “Wow, this is really beautiful, we’re a family, and we’re celebrating this holiday that’s all about family.” It’s kind of really wholesome in a fucked up way. So that’s my favorite show. It’s low pressure, but really high talent, and it’s always good. Airin said it’s entertainment at its worst dressed in its best. High-quality chaos.

AHOYA! student showcase

brooklyn spaces: Being in this amazing corner of Brooklyn, do you have a relationship with the other people in the neighborhood?
Anya: Yeah, absolutely. It’s awesome to see this really accessible gentrification, where it’s not some random guy you’ll never meet building some random building you’ll never live in. Our peers aren’t afraid of becoming entrepreneurs and businesspeople, really pursuing what they want to do and doing it well, doing it in an interesting way that they care about. I love being in this community of business owners and curators and producers who are all young people, we all ride bikes and hang out on rooftops together. It’s like a different kind of grown-up. I really enjoy that.

Amber Dinner Theatre

brooklyn spaces: What are your goals for the future of the space?
Anya: I want to become a New York City institution. I want to make theatre in New York City better. It’s okay for theatre to be really fucking entertaining. I want to create art that’s accessible and meaningful and a really good time too.

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Like this? Read about more performance spaces: Gowanus Ballroom, Big Sky Works, Rubulad, The Muse

I’ve been to Death By Audio a few dozen times, but somehow I always forget how cool it is. My friends’ doom metal band Bloody Panda played a brain-meltingly loud show there a few years ago, and I saw my other friends’ band Dead Dog there last summer. Todd P books there a lot. The shows are always raw and raucous, which of course befits one of the early Williamsburg DIY venues.

all photos by Maximus Comissar

When I went a few weeks ago, the show was as crazy as I expected. First was Bubbly Mommy Gun, a weird psych rock outfit, who had their saxophonist hiding behind the wall and playing through a tiny window. Next was Mugu Guymen, a duo with the guitarist kneeling over dozens of pedals and the drummer just going crazy, playing faster than anyone I’ve ever seen. Last was Makoto Kawabata (from Acid Mothers Temple) with Pikachu (from Afrirampo), who flailed around and leapt up onto her drum kit and grabbed a microphone from out of the ceiling to scream into. Amazing, amazing show.

Bubbly Mommy Gun

Q&A with Edan, Death By Audio’s booker

brooklyn spaces: Give me a quick history of the space and your involvement.
Edan: Death by Audio was a pedal company before it was a show space. Oliver Ackermann from A Place to Bury Strangers moved in in 2005. At first they rented out the front part as a photo studio, but after a while that didn’t pay the rent, so they started throwing shows. I worked the door at some of the earlier shows. I was booking shows around town, but I just kind of started bringing everything here. Then one of the bookers didn’t want to do it anymore, and I took over.

Pikachu

brooklyn spaces: Is there a particular kind of music that’s generally the focus?
Edan: It’s whatever I want to listen to. I wouldn’t have a show here if I didn’t want to see the band. But I feel like I have a pretty broad musical spectrum. It tends to go toward noisier music, heavier rock, heavier metal, and weird harsh noise stuff. But there’s all kinds of pop here too. If it sounds awesome, and if I think it’s going to be cool live, we put it on.

Bubbly Mommy Gun

brooklyn spaces: What are some favorite shows you’ve booked or seen?
Edan: Last summer we had Ty Segall, Charlie and the Moonhearts, and a bunch of other awesome bands. That show was amazing. The best part of that was Ty and Michael had a project together before that, and they did a duet at the end as an encore. That was really cool, it was something I never thought I’d see. And all kinds of band reunions, or people saying they saw videos on YouTube of bands playing here and were like, “Oh man, I want to play there.” Universal Order of Armageddon said that, Party of Helicopters said that. Paint It Black, we did a show for them, that shit sold out in an hour. I never even sell advance tickets for shows, and that one was gone in a day, which was crazy.

Makoto Kawabata

brooklyn spaces: Do you have a struggle or a triumph you want to share?
Edan: I have all kinds of trials! The more it’s a personal thing, the more effort you put into it, the harder it is when you lose to things like money. That’s not what it’s about, but you know, sometimes bookers come in and put holds on dates and tell me I’m going to get some band and I’m like, “That’s fucking awesome, they’ll be great.” And then a month later the booker’s like, “Oh, we were never actually going to bring the show there, we were just holding it in case we couldn’t find a bigger space.” That kind of stuff is soul-crushing. Or there’s always some show that I’m missing a band on, and I end up sitting in front of a computer for hours, emailing tons of bands and getting so many nos. It takes a long fucking time. Then I go to work at like seven, run sound all night, get off at three in the morning, have to clean the place twice. But it doesn’t matter, because I get to see all the shows, you know? I’m always excited about anything that’s here.

Mugu Guymen

brooklyn spaces: What are your thoughts about being in South Williamsburg these days?
Edan: Some of the first underground DIY shows I saw were around here. There’s a place that’s just now newly a condo where I watched Lightning Bolt play in a dirt pit, and Liars, and Panthers, it was a really sick show. Glass House Gallery was one block away, I saw tons of shows there, I saw Dirty Projectors play to like three people there. I grew up on that, in my adult life, my Brooklyn life. I’ve watched Williamsburg go from totally weird-ass back streets to something more normal, although people still walk down here thinking it’s the edge of the world. I used to have people leave after their shift and get mugged for the $20 they’d made, but it’s not fucking like that now. It’s totally safe, totally normal. Death By Audio and Glasslands and 285 Kent and Glass House and Main Drag Music and so many other spots, we’ve helped change what’s safe and unsafe.

brooklyn spaces: What are your goals for the future of the space?
Edan: Just to continue, to maintain the quality, and to keep appreciating it. I don’t want to get bored of doing this.

***

Like this? Read about more music spaces: Silent Barn, 285 Kent, Shea Stadium, Bushwick Music Studios, Newsonic, Dead Herring

update spring 2013: The Barn is back! Now in Bushwick, and bigger, more diverse, and more ambitious than ever. Read my profile of the new space here.

update October 2011: In July, the Silent Barn was completely ransacked. About $15,000 worth of equipment was stolen, and the space itself was violently sabotaged. But demonstrating the indomitability and resilience of the NYC DIY music scene, the people who run the Barn launched and completed a Kickstarter campaign in September, raising an incredible $40,000 toward a new space.

photo from Showpaper

Silent Barn is an all-ages music venue. It’s also a living space with a rotating cast of roommates, the walls feature dozens of murals by local artists, and there’s an intricate recording system with mics scattered throughout the house. Silent Barn is also home to a zine library with over 700 books, and the DIY videogame arcade Babycastles. It’s one of Todd P‘s many go-to venues.

This one is kind of a cheat, I know, because Ridgewood is of course in Queens. But Silent Barn is barely in Queens, literally across the street from Bushwick, and anyway, it really exemplifies the kind of space I started this blog to cover: relatively unknown, DIY-great, creative and fun and unique. Plus it turns out that one of the bookers (Jordan Michael, who is also the editorial director of the DIY music listings publication Showpaper) is a friend of a friend, and he was happy to let me poke around and take pictures, and he graciously chatted with me while setting up for the night’s show, plugging in mics, digging through buckets full of cables and wires, telling sundry band members where to load in, and arguing with other Silent Barn folks about who’s worse at setting up PAs and which bands have made the latest unreasonable demands. Interview below!

Juiceboxxx, photo from Fiddle While You Burn

brooklyn spaces: Give me a quick history of the space?
Jordan: It was started six years ago by this band Skeletons. They lived here and used it as a practice space, and they started playing shows and having their friends play shows. Over time there’s been dozens of people who have moved in and out, and lots of people who get involved don’t actually live here, like myself. This isn’t really my project; it doesn’t really belong to anybody, it belongs to the community.

brooklyn spaces: How did you get involved?
Jordan: Me and Joe, who lives here, work together on Showpaper, which is basically a publication about DIY music spaces like this one. I also work with comics and zines, and I started the zine library here. About a year ago I curated some workshops with the Center for Cartoon Studies in Vermont, they came here and did some workshops on making indie comics. Then I did a benefit show for the zine library where if people donated a zine they could get in for free, and that went really well, and I just realized I liked and was good at organizing bands. Organizing bands in a space like this is kind of like marbles. You know the game marbles, where there’s a circle that’s like a wall, and the marbles all just roll away on their own momentum out of the wall? It’s kind of like that.

brooklyn spaces: Is it always the same kind of music?
Jordan: No. Tonight’s show is indie-rock-punkish music, and the show I have Saturday night is all chiptune, and the last show I did was a mixture of hardcore punk and local hiphop, and the show before that was folk. So I’d say it’s just all good music. I don’t know, everybody’s called me a music snob my whole life, but now I’m a curator.

brooklyn spaces: You mentioned that there’s a system where all of the rooms are recorded, not just the show space. What’s that about?
Jordan: That’s Lucas’s project. He’s a cassette artist, and he’s in the band Woods. It’s a recording of the entire space at the same time, not just a recording of the bands that play. So on a Friday, you hear the Dominican restaurant next door playing bachata music and people screaming at each other.

brooklyn spaces: And it’s used for what? Just to have?
Jordan: To record. To survey.

Team Robespierre, photo from Brooklyn Vegan

brooklyn spaces: Since this is a blog about Brooklyn, do you have any opinion about whether a space like this could have happened somewhere other than Brooklyn?
Jordan: Yeah, it could have happened in Ridgewood! I mean, there’s tons of spaces like this, all over. One of my favorite things about doing this is getting to meet all the people that are participating in places like this from all over the world. They all have their different things, but they’re all similar. There’s a place in Bushwick called Shea Stadium, their sound booth is an actual recording booth, on their website they have professional recordings of all their live shows. There’s a place called the Rhinoceropolis in Denver that’s a lot like this, there’s The Smell in LA, there’s Whitehaus in Boston; in every city there’s a place like this. It’s normally run by people who are in bands and can’t get anybody to book them, so they just have their friends come over and play for them, and then their friends want to play, and then people who came to their friends’ show want to play, and it just becomes a thing. It can totally happen somewhere other than Brooklyn. Actually, I’d say one of my major pet peeves is when people talk about Brooklyn like it’s this wonderful Oz place, the only place where things like this can happen. There are tons of cities, like Athens, that have a much more historical independent music scene than New York. I don’t really think New York’s all that special, to be honest. I’m way more impressed by Philadelphia or Baltimore. All the people in Baltimore are doing cool shit all the time, and they’re in a lot more danger than we are here. This isn’t a great neighborhood; it’s not a bad neighborhood, but it’s not great. But Baltimore is horrible.

Wham City, photo from Hyperallergic

brooklyn spaces: Anything else you want to tell the world?
Jordan: Yeah, don’t hang out outside the doors. We’re not BYOB, don’t bring in your own beers. And don’t be a dick about it when I try to take your beers away from you; it’s my friend’s house, I can take away your beer. And I want to stress that we really don’t let kids drink here. And don’t smoke upstairs, people live here. Smoke downstairs! We let you smoke inside, just go downstairs, stop being a dick about it.

brooklyn spaces: So generally stop being a dick?
Jordan: Yeah, stop being a dick.

***

Like this? Read about more music spaces: Shea Stadium, Death By Audio, Dead Herring, Fort Useless, Bushwick Music Studios, Newsonic Loft

photo by Jonathan Slaff from twi.ny

neighborhood: williamsburg | space type: performance / art space | active since: 1996 | links: website, tumblr

CAVE, led by video artist/curator Shige Moriya and theater-dance director/dancer Ximena Garnica, is a tiny experimental and alternative art space, one of the longest-running in Williamsburg. Their stated goal is to “maintain an environment that attracts, provokes and supports exchange, generative confrontation and collaboration among emerging and established artists and audiences from diverse cultures and artistic backgrounds.” To this end they hold workshops, performances, commissions, and exhibits, both solo and collaboratory, along with annual festivals and artist-in-residency programs.

In the nineties and early aughts, the space had a broader scope, including visual arts of all kinds, music, dance, and other types of performance. In the last decade, CAVE has refined its focus, and now primarily presents and nurtures innovative varieties of dance and performance art, and has become one of the New York hubs for butoh, a Japanese conceptual dance movement.

photo by Claudia La Rocco from New York Times

Many of the performances and events in the biennial New York Butoh Festival are held here, and CAVE  jointly established New York Butoh-Kan, an ongoing intensive training program that brings butoh masters from Japan to give classes and seminars in Brooklyn.

CAVE also offers short- and long-term artist-in-residence programs, and hourly rentals of its dance studio.

photo from www.cavearts.org

Q&A with Bryan, a former CAVE artist-in-residence

brooklyn spaces: Why is it called CAVE, and what is the history of the space from your perspective?
Bryan: Shige Moriya started the space back in 1996 with a few friends. He is the only originator who still lives there. Shortly thereafter he met Ximena, and their loving relationship has conceived of, sponsored, spawned, incubated, and nurtured innumerable beautiful works. I think it was called CAVE just because the space is rather cave-like on the inside. Living there, I liked to fancy it like how I imagined the inside of the Batcave works, you know: over here is where we work out antidotes to poisons, over there is the machine that keeps profiles of the world’s most dangerous people, this is the bulletproofing cloakroom, etc. I should really encourage them to install a firepole.

brooklyn spaces: What drew you to CAVE, and how long did you live there?
Bryan: I saw a performance there many years ago and was mesmerized. Yuko Kaseki took my breath away, and the images of her movements became scorched onto my brain forever. Much later, I was working a boring office job and had spare time outside of my musical endeavors, and was just feeling under-spun, so I answered a Craigslist add for a job with CAVE. It was for a very lowly sounding position, a stamp-licker or something, which was what made me think I could handle it. But after I interviewed with Ximena and Shige, they made me the Workshop Director for the 2007 New York Butoh Festival. This meant that I was responsible for the registration and attendance of over a hundred dancers from around the world, as well as accounting for thousands of dollars of participants’ money and generally making sure the workshops went smoothly. It was daunting, but Ximena and Shige giving more confidence to me than I would have given to myself really helped me to grow. I wound up living at CAVE two separate times, for about eight months each time, between my two trips to Indonesia.

photo from CAVE's Facebook

brooklyn spaces: How did CAVE help you with your art?
Bryan: CAVE helped me with my art inside and out and everywhere in between. Aesthetically, learning about butoh, studying with masters from Japan, interviewing them for my radio program, watching it manifest, soundtracking choreographies… All of these things deepened my aesthetics and helped expand how I understand living and breathing. Meeting people was the other most remarkable impact of living and working through CAVE. One worker there, Claire Duplaniere, told me about a scholarship in Indonesia, and now I am living here on my third scholarship. Another artist-in-residence, Yana Km, found out about one of the same scholarships through me, and now she’s living here too. So things like this have really been life-changing. And it is cyclical. I had the privilege of working with Yuko Kaseki, the first butoh dancer I ever saw perform and still one of my very favorites, on a video I filmed with my band, Bloody Panda. I helped organize a music festival with CAVE two years ago, and artists who met that day are still making recordings together in different contexts. It’s thrilling to think about the potential that such a collective provides.

brooklyn spaces: What were the best and worst things about living there?
Bryan: Living there really makes you become hyper-conscious of how you conduct yourself. You’re a worker and a friend, helping to create art while helping the functioning of this non-profit collective. Personalities can clash. It taught me a lot about how to keep everyone’s best intentions in mind and to always try to show mine, especially after making mistakes.

brooklyn spaces: How does the community respond to CAVE?
Bryan: In an amazing way. CAVE’s loyal audience is responsible for the fact that just about every performance there sells out. I remember once when I was running the box office, I had to console people who hadn’t made reservations to a sold-out performance. “It’s a nice sunset over there on the East River, though, yeah?” Maybe they wanted to punch me, but instead they smiled.

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Like this? Read about other performance spaces: Chez Bushwick, South Oxford Space, Bushwick Starr, The Muse, Cave of Archaic Remnants