Presence
Gesture, time, and concept in collision—embodied acts that resist stillness, often strange, always alive.
The Gazebo
The Gazebo
by Akiko Amora
I have known Velocity for eleven years. In that time he has performed inside a running cement mixer, curated a show entirely underwater, and once spent three weeks as a documented rumor. He is not a man who sits still.
Which is why, when the press release arrived, I read it four times.
Velocity announces his most ambitious work to date: an open-ended durational performance, location fixed, duration indeterminate, subject: the question. Press inquiries welcome. Photography permitted. Refreshments not provided.
NEXT CANDIDATE
NEXT CANDIDATE A review by Suchu Tanyetz
I arrived not knowing exactly what I was walking into. That, I later understood, was the point.
The waiting room is pink. The chairs are beautiful — molded plastic in mint, yellow, dusty blue, the kind of chairs that appear in design retrospectives. There are balloons. There are sculptures that resemble balloons but aren't quite. Everything is pastel. Everything is slightly wrong.