Mission Statement

The Push Pops are a radical, transnational queer feminist art collective. Geared toward engendering ‘Embodied Feminism,’ Go! Push Pops employs the female body – that which is bound to a cross-cultural language of desire, signification and power – in tactical, ideological strategy. Go! Push Pops utilize gesture, exclamation and popular idiom to embody a new age discursive physicality interfacing with the ancient archetypal realm. Neo-Dada, Fluxist and Feminist, their performance work posits the body as a danger to the operation of reason and patriarchal economy of lack. A wild leap, an elusive slogan, a paroxysm of the flesh – The Push Pops reinscribe the body through participatory ritual, spontaneous performance and interactive multi-media installation.


Friday, May 28, 2010

“FIGMENTNYC2010” June 11-13, 2010 " Aerobic Utopia, Bagel Buns"

The Push Pops Collective presents "AEROBIC UTOPIA – BAGEL BUNS".
At the onset of another hot and sticky New York summer, The Push Pops Collective will give a two-day presentation on the best way to cut carbs and get those tight buns for the bikini season!  Powered by the proven methodology of the Buns of Steel series, The Push Pops will provide free personal training and diet advice to Figment participants.  As part of Aerobic Utopia, The Push Pops will construct a giant pile of day-old bagels and rolls, collected in the weeks leading to Figment.  Next to this symbolic victory hill, brightly clad Push Pops will lead several aerobic sessions to celebrate triumph over food addictions and unhealthy consumerist tendencies.  The Bagel Hill will also raise awareness for the daily food waste occurring in this city.  

Tuesday, May 4, 2010

" T A P E D "

In their 2010 performance Taped, the Push Pops make a surprise visit to Portia Munson’s Pink Project, an arrangement of 2,000 pink objects Munson first exhibited during the New Museum's Bad Girls show organized by Marcia Tucker in 1994.


The performance began with a raucously spirited procession from the Push Pop Headquarters to PPOW Gallery in Chelsea. Dressed in hot pink and orange, the collective proceeded West, waving a flag and singing their characteristically oblique idiom. Confronted with Munson’s monumental piece, the Push Pops rolled around the periphery of the work bound together by pink and orange masking tape. While Munson’s piece makes an appropriately 3rd wave subversive gesture - exposing a kind of hyper feminine excess, deifying the calcified remains of the fetishized pink lot – the Push Pop’s intervention marks an important instance of reactivation of Munson’s original concern. Twirling in technicolor motion and reminiscent of a spring bouquet, popsicles or music box dolls, the Push Pops resemble the plasticity and stasis of the pink products, meanwhile, assert a new paradigm of bodily independence through their implacable physicality and equivocal cries. The Push Pops are taped, bound, tied, tethered… but only to one another.

*feedback is welcome!