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.


Monday, July 22, 2013


When Go! Push Pops met Nyssa Frank at the Living Gallery to pick up the keys for use of the space during our month long Warrior Goddess Workshop, the first few words out of Push Pop co-leader Diamond’s mouth at the time were,
“A year of planning leading up to this and it all flew by so fast. I kept thinking I would really be a Goddess by the time this workshop rolled around – but I’m not so sure.”
Nyssa replied, “You are definitely a Goddess.”
Could it be? What does it mean to embody the Goddess and how do we get there physically, emotionally, and spiritually? How do we burn away eons of patriarchal residual – the self-loathing, objectification and physical/emotional violence which ensued for all peoples during the dark Piscean age of war and pillage on this earth now past? When do we commit to being present, seeing reality clearly and letting the heart lead us back to a past-present-futurity in which women, who by yogic science possess sixteen times the cosmic primordial creative energy of men (in order to carry new life) will celebrate and accept their own beauty and power?
Before Nicolas Bourriaud wrapped up social practice in all his constipated white male European intellectual fantasies, feminist artists were doing social practice and they were doing it better. They were doing it fueled by a lot less money and hype than say, Tino Sehgal getting six figures to turn the Guggenheim into a people petting zoo for alienated folks or Rirkrit opening a soup kitchen for the culturally-emaciated Art elite. They were doing it like Suzanne Lacy making “art” with LAPD to bring hidden experiences of rape into the media domain and change public policy. They were doing it like Jane Dickson’s collaboratory cardboard “City Maze” at Fashion Moda in 1980, a site most well known and historicized for the contributions of the male artists involved. As Jane recalled at a panel this past winter at the Bronx Documentary Center, it was the first time since 1980 she had been asked to speak about her work at Fashion Moda because it was the first panel scheduled during a period when the men had something better to do.




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