Image courtesy of Marcelline Mandeng Nken.
Rush Hour is a performance-installation that unfolds inside a moving train. Exploring migration, displacement, and time travel, this surrealist work links the concept of Sankofa, a call back into history to remember, with the theory of self-reference as fertile ground for sculptural forms, spatial interventions, and movement phrases. Rush Hour disrupts dichotomies between body and machine, nature and industry, stellar motion and mechanical time. Premiering the second of three acts for The 8th Floor’s Sight/Geist series, the performance will be followed by a discussion between Mandeng Nken and Charles de Agustin, Programs and Engagement Manager at the Foundation.
All of our programming is free and open to the public, with RSVPs requested here. Geographic Bodies is on view from 11am on the day of the program, with select works obstructed from 5:30pm due to the event setup. Doors are at 6pm and the performance will begin no later than 6:30pm. Info on accessing our space can be found here. Email us with any questions.
Marcelline Mandeng Nken (b. Yaoundé, Cameroon) works with sculpture and time-based media. Her practice draws from concepts of syncretism, non-human intelligence, and the labor traditions of the Global South. In 2024, she earned an MFA from Yale School of Art and attended the Skowhegan School of Painting and Sculpture. Recently, she completed a Dance Research Fellowship at the New York Public Library's Jerome Robbins Dance Division. The fellowship culminated in a performance presentation titled "Queening The Knight: Baryshnikov's Vulnerability and Masculinity On Display," which is set to premiere at the Performing Arts Library in January 2025.
Image description: A performer silhouetted by a large projection of green and orange microbes, with small pieces of technology surrounding her on the floor.