12-turn-13

space type: parties, events | neighborhood: clinton hill | active since: 1998 | links: website, facebook

Art party space 12-turn-13 sits in a huge industrial building dating back to the 1930s, one of only two remaining structures from the MH Renken Dairy complex (preservationists are working to designate the other as a historic landmark). For the last sixteen years—an incredible lifespan in today’s deliriously shifting Brooklyn underground—this beautiful loft has hosted all manner of DJs, gallery shows, and complex performance events, from Wolf + Lamb and Mister Saturday Night dance parties to exotic honey tastings and elaborately themed fêtes.

all photos courtesy of theARTcorps

Read on for plenty of reminiscences and fantastic stories from owner Steve R. about sixteen years of underground Brooklyn brilliance.
[n.b.: this interview took place in September 2013]

brooklyn spaces: This space is just gorgeous. What was it like when you got it?
Steve: Oh, it was an absolute sty. There were these huge hinged industrial windows that weighed about fifty pounds, they had bars on the outside and the inside. There were strips of fluorescent lights hanging from the dropped ceilings, which were curling at the edges from water damage. There were all sorts of wire conduits everywhere, and there was a concrete bunker in the corner that functioned as a bathroom—it consisted of a toilet, about enough space for a toilet paper roll, and on the outside, literally hanging off its pipe, a sink that didn’t work. That was it.

brooklyn spaces: So it was love at first sight?
Steve: Well, I’d looked at about sixty different places, from Sunset Park to Greenpoint—leaving out Williamsburg, because I knew I didn’t want to go there.
brooklyn spaces: Even in 1998 you didn’t want to go to Williamsburg?
Steve: Well, I was living in the East Village at the time, and an Urban Outfitters had just moved in across the street from me. I knew what was going to happen in Williamsburg, and I just couldn’t do that again. Anyway, I had a car at the time, so I drove here, and when I walked in, this place was so disgusting, but I could see the beams, the wood floors, the perfect lighting, I knew it had the bones. So I immediately said, “Yes, I’ll take it!” And then I drove back to the East Village and thought, “Oh god, is there a subway? Is there any food?” I had no idea. So I had to come back and walk the neighborhood. Luckily there was a post office, a supermarket, a few amenities. So yes, love at first sight, and then a lot of work. We ripped out the drop ceiling and exposed all these beams—that took about nine months on a twelve-foot ladder, scraping it all by hand with a little brush. And then carpenters, electricians, plumbers; we basically built everything from scratch.

brooklyn spaces: And the goal was always to make a living space where you could throw parties?
Steve: Yes. My East Village apartment was 600 square feet, and I had parties there for years. My scene was DJs and downtown artists, performers, and fashion people. We did First Friday salons every month, where people would come over and share what they did, creatively. It grew to the point where we had a keg in the bathtub and people lined up and down the stairs smoking cigarettes until 4 o’clock in the morning, and I just realized my neighbors hated me and I had to move.

SPANK party, photo by Jemma Nelson

brooklyn spaces: You had no resistance to coming to Brooklyn?
Steve: There was only Brooklyn. Where else could we go?
brooklyn spaces: What about your guests—was there resistance for them to come to Brooklyn?
Steve: Oh god, yes. This is back in the day when we had to actually print invitations and handwrite the addresses and put them in the mail. People didn’t even know about the G; back then we called it the Ghost Train. One friend came out for a salon here and didn’t have my phone number; he was banging on the door but we didn’t hear him, and he went back home and that was the end of our friendship. He was so upset about how far he’d had to come! Nowadays of course it’s no big deal, but then? Yeah, it was tough.

Blue Dinner Party

brooklyn spaces: What was the neighborhood like?
Steve: Well, Myrtle Avenue was called Murder Ave. There was a double homicide right up the block, there was a brothel across the street; once they threw a television out a fourth-floor window—what a spectacular crash. There were no gays, not many white kids. But what I loved about it was that it was Brooklyn, it felt so real to me. And I knew all my neighbors, they would all come to my parties. Now everybody looks alike and I hardly know any of them.

brooklyn spaces: How has it been, watching that change?
Steve: Well, I can actually eat in my neighborhood now. I can buy coconut ice cream at 4 in the morning, and there are boutiques and a yoga studio; but now I have to be concerned about how much noise I make. So it’s not the same but the neighborhood has retained a lot of its character, and I think it’s changing with some integrity. But we’ll see how it goes.

Midnight Magic

brooklyn spaces: Let’s talk about the parties. Tell me about some great ones or awful ones or really memorable ones.
Steve: Oh my, sixteen years. Let’s see. In probably 1999 we threw a series of parties called “b_list.” The price to get in was $3—the graffiti tag “$3 too much” is still in my hallway. We had breakdancers spinning on cardboard boxes, go-go dancers, the DJ atop the booth with his pants around his ankles; people were having sex in the bathroom, sex in the water-heater closet, sex in the corner—it was crazy. Someone shat on my couch in the supposedly locked storage area.

Halloween party

brooklyn spaces: Wow. Were all the parties that intense?
Steve: No, no, that was something of an anomaly. When I moved in here it was to make a playground for a variety of artists, and every party had basically two criteria: it had to be multi-disciplinary, and it had to change the space, so that every time you walked in here you went “Ooh, it’s totally different!” We did a series of “Art Inspired By Nature” parties that were very involved: from 6 to 9 it was a proper art gallery, from 9 to 11 there were performances, and then the lights would go down, the DJs would start, and, you know, my parents and all the neighborhood kids would vacate and it would turn into a real party. Those parties were so much effort! First we curated about 30 artists around a nature theme, and then I found an environmental nonprofit partner—for one about water, we partnered with Riverkeeper and they did a lecture for us on the New York Watershed; we also went to the Coney Island Aquarium and got a behind-the-scenes tour of feeding the sharks and propagating jellyfish. For another, about air, we partnered with Earthpledge. So it was about six months of work and planning leading up to a one-night event, and it was like BOOM, crescendo! And then massive depression afterward. It became very difficult to maintain that momentum.

Art Inspired By Nature party

brooklyn spaces: How did you keep from totally wearing yourself out?
Steve: Well, around 2005 I met the Wolf + Lamb guys and started throwing parties with them, which was much easier: all I had to do was set up and clean the space. They had a following, so they’d promote to their people, I’d promote to my people, and everyone would come. There was suddenly this thing called email, which made it all so much easier! So I’ve been doing mostly DJ parties ever since then. We’ve been doing the Mister Saturday Night parties for about five years now, with some Mister Sunday parties in the winter months. They’re the most magical parties, full of a diverse group of people, and even children. We really deck out the space with fun décor and art installations; we’ve been partnering with Jeffrey Ralston, who does amazing inflatables that make everyone smile.

Mister Sunday party

brooklyn spaces: So DJ parties became your main focus.
Steve: Yes, but I do still host smaller, more intimate and creative salons. We’ve had supper clubs and wine tastings and salsa dancing lessons and a jazz concert. Oh, and one of my favorite recent parties was for my birthday, a Bee-Day Party, because I’m now a beekeeper. We had flowers everywhere, there was a honey tasting, we had a little photo booth with Astroturf, a real log, a flower-ringed arbor, sky, clouds, and a kite. Jeff did these gigantic nine-foot inflatable flowers. It was wonderful.

Mister Saturday Night

brooklyn spaces: Tell me about one more really memorable party, where everything just worked perfectly.
Steve: A few years ago we did one called “Dante’s Inferno” in collaboration with the theatre collective Augenblick. It started in the city and went through the Nine Circles of Hell on the way here. The first and second were in Union Square, the third was on the L train platform, the fourth and fifth were in the Lorimer station, the sixth was on the G train at the Classon stop, and then on down the hill. When people approached 12-turn-13, we had all these performers out on the street: fire throwers and twirlers and a nine-foot monster. And then you came inside and the entire space was decorated to be Hell. People walked in through a green screen, and their images were projected in flames elsewhere in the space. It was incredible.

Dante's Inferno party

brooklyn spaces: Having come from the East Village and been here for so long, what do you think is the influence of Brooklyn on 12-turn-13—or the influence of 12-turn-13 on Brooklyn?
Steve: I came to Brooklyn at the right time. I think at this point, finding a space like this, it’s kind of too late unless you have a lot of money or you’re venturing much farther out. But I think there are still pockets all around. I have friends in the Rockaways who bought the Playland Motel, which is an amazing space, and I know there’s the whole industrial complex in Sunset Park that’s going to explode. There’s still that pioneering spirit, and there’s still space if you look for it. During the Red Bull Music Academy, Justin [Carter, of Mister Saturday Night] and I went out to Knockdown Center, and walking into that courtyard, seeing that massive building, I felt like it was 1996 again, this feeling of discovering something new and different and grand and ambitious and magnificent.

Salon Selects Supper Club

brooklyn spaces: Knockdown Center is one of my absolute favorite new spaces.
Steve: Architecturally, it’s astounding. It reminded me of the Lunatarium, this incredible space that was in Dumbo in the 2000s [ed note: check out Jeff Stark’s great piece on the closing of the Lunatarium], or the Fake Shop in Williamsburg, which was a huge warehouse where they had amazing inflatable installations and dark sensory-deprived crawl-space mazes you went through on your hands and knees. Knockdown Center for me was like, “Wow. It’s still happening.” There are always people who want to have an adventure, that craving for discovery. 12-turn-13 is the same, it’s a destination. You need to want to come here, but we’re going to throw such a good party that it will be worth the journey. At least, we hope it will.

***

Like this? Read about more underground party spaces: Rubulad, Gemini & Scorpio, Red Lotus Room, The Lab, Egg & Dart Club, Gowanus Ballroom, Newsonic

gemini & scorpio loft

neighborhood: gowanus | space type: art & events | active since: 2011 | links: website, facebook, twitter, flickr

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

dead herring

space type: apartment & music | neighborhood: williamsburg | active: 2007–2013 | links: myspace, facebook, twitter

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!

***

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

swimming cities

neighborhood: gowanus (and the world!) | space type: art collective | active since: 2001 | links: website, blogfacebook, twitter

update, Nov 2011: Want to see some absolutely amazing photos from Swimming Cities’ incredible trip down the Ganges in India? Check ’em out on their blog here.

***

With this post, I am thrilled to say that I’ve covered all the spaces that inspired me to start this project! Not that I intend to stop; I’m just really excited to have finally gotten to talk to everyone I’d initially set out to, and to celebrate all their crazy brilliance.

So let’s talk about the crazy brilliance of Swimming Cities. They’re a nebulous art collective of somewhere between ten and thirty people who build boats out of found materials and sail them all over the world. The boats themselves are essentially floating works of art, and the group does visual, musical, and dramatic performances atop them as they go. The first project, started by Orien and Callie (also known as Swoon), was the Miss Rockaway Armada (since splintered into its own collective), which went down the Mississippi from Minneapolis to New Orleans in 2001. The next project, Swimming Cities of the Switchback Sea, went down the Hudson River, from Troy to Deitch Projects in Long Island City, in 2008. Then in 2009, Swimming Cities of Serenissima sailed down the Adriatic Sea, starting in Slovenia and winding up in Venice to crash the Biennale. And now, in September 2011, Swimming Cities Ocean of Blood is making their way down the Ganges in India, starting in Farrukhabad and ending in Varanasi for the Diwali festival.

photo by Tod Seelie, from Arrested Motion

They’re a well-connected group in the Brooklyn underground & art communities. Over Swimming Cities’ history, all manner of artists and collectives have taken part, including members of the Madagascar Institute, the Toyshop Collective, the Infernal Noise Brigade, GreenBusTour, Black Label Bike Club, Flux Factory, and dozens more. Much of the initial work on the Ocean of Blood boats was done at Serett Metalworks, and they throw crazy themed fundraising parties at the Gowanus Ballroom, Electric Warehouse, Chicken Hut, the warehouse on Ten Eyck, 285 Kent, and lots of others. The collective is also naturally involved in the Burning Man community and participates in Maker Faire, often winning awards for their ingenious floating creations. You can donate to their Kickstarter campaign to help them get home from India, but first check out my interview with Orien (third from left) and crewmember Angie (far right).

Ocean of Blood crew

brooklyn spaces: How did this all get started?

Miss Rockaway Armada boat

Orien: I had a boat and was living on the Gowanus Canal, and Callie lived a few blocks away. We met at Pratt, and she would hang out on my boat and we’d talk about building a floating performance art space. Then I left and spent some time in India, and she did Miss Rockaway Armada with several other artists. After that we did the Hudson River and Venice projects together, and then Callie was giving the project up, so I asked her if I could keep it going. India was the obvious choice for me; it’s my favorite place. But there was a lot of ambiguity about whether this would actually happen. I’m not a famous artist, I don’t have any money, I don’t have backing. But it gradually gained momentum, and now Swimming Cities has a presence beyond its association with Swoon and the other projects.

boats in Venice, photo by Tod Seelie, from Brooklyn Street Art

brooklyn spaces: Before we get too much into India, what was it like being in Venice for the Biennale? How was the reception?
Orien: Being in Venice with a boat is so much fun. I don’t recommend going there if you can’t get a boat, it’s just going to drive you crazy. And the reception was great, everybody loved it. Except when we went into the Arsenale, which is a military base, like a fortified marina, this big square with water and some sort of promenade around it. We went in there with Dark Dark Dark playing on the roof we and tied up the boats, and they came and cut our lines and told us to fuck off. But come on, we basically came uninvited in junk boats, so of course they did that.

brooklyn spaces: Okay, so now tell me about India. How many of you are going over, how many boats do you have, how did you set it all up?
Angie: There’s five boats, eight people are going, and we have a couple of Indian people there. We sent a scout a few of months ago, and he lined up places for us to stay and to store stuff, and people to help us, and institutions and permits and things like that.
Orien: They government wanted to know what we were doing. They don’t want to be like, “Oh, you’re doing a performance? Great!” and then you get there and quarter a cow or do something really offensive. But we got a letter of support from the Ministry of Culture that says something like, “Your project is not specifically offensive to us from a cultural perspective.”

sketch for part of the Diwali performance

brooklyn spaces: The highest praise. What are the performances going to be?
Orien: We’ll be pretty far out on the water, so it’s not practical or logistically possible to have sound or a plot. It’s going to be a gradual, five-day visual performance with a very vague narrative. It’s kind of like architectural puppetry.
Angie: We’ll have a big mechanical sculpture involving lights and movement, and at the end the boats come apart.
Orien: It sort of demonstrates the function of what makes the object interesting.

five boats in radial formation, photo by Ben Mortimer

brooklyn spaces: What do you guys do in between trips?
Angie: We have a lot of events. Most of them are fundraisers, but this summer we did the Battle for Mau Mau Island in Gerritsen Beach, where we got all our friends to form boat gangs. There was a race, a battle, and boat jousting.

West India Day fundraiser, photo from Laughing Squid

brooklyn spaces: What’s your motivation for doing this?
Orien: I’m really interested in boats as pieces of architecture, as objects. I come from an industrial design background, that’s what I went to school for. And all these people really enjoy being a family and having a common goal that isn’t about money or the banality of the homogenized world of bullshit. So I just keep doing it. It’s a reaction to the alternative. To exist in the actual world isn’t really an option for me; if I don’t do this, what the fuck am I going to do?

Bordertown party at Electric Warehouse

“Caddywhampuss,” which won Best in Show at the 2010 Maker Faire, photo from Makezine

brooklyn spaces: What’s next for you guys?
Orien: We’re probably going to go to Russia, down the Volga river to Moscow. I really want to go to Lake Baikal, which is one of the world’s largest lakes, it represents one-sixth of the world’s fresh water. It’s got seals and underwater caves, it’s insanely deep, and it’s in the middle of Siberia, there’s nothing near it. And surrounding Moscow is the Golden Ring area, the oldest part of Russia, so you have this really old architecture and culture.

welding pontoons with a martini, photo by Mayra Cimet

brooklyn spaces: Are you inspired as an artist by being in Gowanus, or in Brooklyn in general?
Angie: We were totally lucky to have Josh get that shop on the Gowanus.
Orien: Oh yeah. We built the first boat in this tiny place on Nostrand Avenue, and then Josh was like, “Guess what? I’m getting a new shop and it’s insanely massive and it’s on the Gowanus Canal.” It was just the most ridiculous luck we’ve ever had. This project wouldn’t have happened without Josh and Serett, it literally would not have. But other than that, I don’t find New York especially inspiring. It’s basically an impossible place to get anything done.

brooklyn spaces: But overall, has this been a rewarding experience?
Orien: Definitely. I have all the things I was looking for. We have the best friends anyone could have. We have something to do that isn’t awful, that doesn’t contribute to the greater horror, that doesn’t hurt people. No one has gained anything from what we’re doing, except maybe the beer distributors. Other than that, no one’s getting rich off us, which is nice. That’s about all you can ask for.

photo from Pipe Dream Museum

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

the lab (electric warehouse)

neighborhood: bed-stuy | space type: parties | active since: ? | links: website

The Lab—or as it’s known to the dance kids and hipsters, Electric Warehouse—is a 10,000-sq-ft underground party space deep in Bed-Stuy. Once upon a time it was used to repair trolleys, then it was a parking garage, then a strip club. It’s rumored that famed Brooklyn DJ Frankie Bones held some of his storm raves there in the mid-nineties. Now it’s a pliable, chameleonic space that hosts all kinds of parties for all different facets of the underground. As the Lab, there’s events like Friday Night SinSations, an urban gay dance party; weekly female-only hip-hop parties; CARNIVIBES, a reggae party with Carribean food and drinks; and P. Diddy’s “Biggie Day” tribute. As Electric Warehouse it caters to techno music and rave culture, with parties thrown by groups like Feed the Starving Artists, NYCRavers, SUN Collective, RefugeNYC, and Unicorn Meat. The space has also hosted some big-name artists, from Ninjasonik and Designer Drugs to Chris Brown and Snoop Dogg.

I haven’t been to a rave in a lot of years, but I’ve been wanting to check out the Lab for months, and after a special invitation from Alex of Unicorn Meat, who, along with Feed the Starving Artists, was co-producing GET DIGITAL, a pre–Burning Man dance party, I headed out to Bed-Stuy with the intrepid Maximus Comissar to see what it was all about. First we went mid-week to see what the space was like empty, and I was a little surprised at how bare and personality-less it was, compared to other underground party spaces like Rubulad and Red Lotus Room. But when we went back on Saturday night, after a very thorough pat-down at the door, we walked in to find the place totally transformed. There was a huge pyramid jutting out of one wall, different crazy video projections coming from four different balconies, the stage was lush with six-foot flowers, there were fire-spinners and a Merry Pranksters–like bus in the parking lot, and the whole place was teeming with people just dancing their faces off. I’d forgotten how crazy awesome the energy gets at a rave, and it was super fun to watch. Everyone was dressed crazy, painted up crazy, gyrating and fist-pumping and sweating and grinning like mad. Good fucking times.

***

brooklyn spaces: How did you get involved with the Lab?
Alex: I throw underground warehouse parties all over New York, so I know a lot of different spaces. The Lab is really big, large enough that we would likely be able to not reach capacity over the entire night. At the last place I put on an event we had a much smaller capacity and way, way too many people came. So I talked to the owner of the Lab, built up a relationship with him.

brooklyn spaces: Have you been to other events here?
Alex: Oh yeah, a lot. Drew Meeks, a friend of mine and a member of the Burning Man community, he did a party here a year or two ago called Gratitude, which was one of the most amazing events I’ve ever been to. He had acrobatic aerialists, massages, chill rooms, and he worked with Leo Villareal, who’s a famous LED artist and also a part of our Burning Man camp. They had these giant red LEDs, which are part of a sign they bring out to the desert every year, and they just had these crazy transformations, shooting into the center and back out, making different patterns and all these different variables. The GET DIGITAL party was more of a rave than the other events my friends and I usually do. Our scene is a little bit different than the rave scene, musically and culturally.

brooklyn spaces: How do you define your scene?
Alex: It’s art-based. There are some others that touch on artistic things, but mostly in decoration, not in practice. We really go out of our way to make our own clothing, make our own costumes, do interactive art during events. It’s generally an older, more mature crowd, and there are a lot of working professionals who are very talented. Any time I need any kind of legal advice, or real estate advice, or we’re trying to deal with something logistical, all I really need to do is put the word out, and within hours we can get anything solved.

brooklyn spaces: Are there some artists you’ve worked with a lot who you really love?
Alex: I love all artists. There’s so many, I wouldn’t even know where to start.

brooklyn spaces: When you’re planning the parties, how do you decide what elements to include?
Alex: It’s sort of like the orgasmic peak in a song, where it starts off kind of slow and mellow and then builds up, and then you have a heavy-hitting section, and then it kind of mellows out again, and then right before it ends, you just pump it up out of nowhere. When I book my artists, that’s what I take into consideration. There’s an endless amount of artists in the city who want to participate in good parties. We’re so blessed with it.

brooklyn spaces: Do you feel like Brooklyn has had an impact on the way you throw parties or the way you conceive art, or the way the underground works?
Alex: I’ve traveled a lot, I’ve been to thirty-something countries in the past two years, hitchhiking all over the place, and the reason I came back here is because I’m a cosmopolitan, I love all people, I love the world, and New York is the center of the world. It’s got more cultural diversity, countercultural diversity, linguistic diversity, it’s got something for everyone, no matter who you are. It’s really a beautiful place.

brooklyn spaces: For you, in the simplest terms, what makes a good party?
Alex: The people. That’s the most important thing. As long as you have a room, music, and good people coming in, that’s it, as far as I’m concerned.

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Like this? Read about more underground party spaces: Rubulad, Red Lotus Room, Gowanus Ballroom, 12-turn-13Newsonic, Gemini & Scorpio loft

egg & dart club

neighborhood: ft. greene | space type: social club | active: 2010–2012 | links: blog, facebook

Egg & Dart was a social club just off the Brooklyn Navy Yard in Ft. Greene run by Alita and Angie, service-industry veterans who are well connected to the Brooklyn creative scene, regularly bartending at places like the Red Lotus Room and Rubulad, and involved with the fantastic Nonsense NYC. At Egg & Dart, they hosted a slew of events, including weekly poker nights, barbecues, live music, craft parties (bonnet making!), gardening classes (terraria!), gay brunches, film screenings, and more. They collaborated with Flux Factory, Swimming Cities, DJ Sticker Guy, Bonnie Montgomery Trucking, applewood, Alan Lomax Archive, Quince Marcum, and Lamia Design. They closed their doors in the summer of 2012.

photo from Egg & Dart's Facebook

The first time I went was for the Rooftop Sprinkler Slushie Hootenany, a potluck barbecue with music sets by the Home for Wayward Drummers. It was a beautiful night and the party was lovely, mellow and relaxed. The few dozen people were of all ages, with a handful of dogs running around underfoot. The music was awesome, the food was great, and everyone was incredibly welcoming.

Q&A with Alita and Angie

brooklyn spaces: How did you pick the name?
Alita: The space used to be a social club, in the seventies, and they had egg-crate foam all over the walls because of the sound. I think it was called the Egg Drop Space, so Egg & Dart came out of that.

photo from Egg & Dart's Facebook

photo from Egg & Dart's Facebook

brooklyn spaces: What made you decide to start a social club?
Angie: We’ve been talking about it for a really long time, and looking at spaces, and when we found this one, we decided to go for it.
Alita: Angie and I both work in the service industry, and we’re interested in bringing the skills we have from that—like getting people together, and creating a special space and occasion—to meet the amazing weird art projects we work on the rest of the time, and the people involved. I’m a bit of a matchmaker and a people collector, and I love nothing more than introducing some of my favorite people to other favorite people.

photo by me

brooklyn spaces: Is there a division of labor between the two of you?
Alita: We work really well together. The labor falls kind of naturally between different things that we’re inclined to do. We pretty much do it all together.

photo by me

brooklyn spaces: What’s your favorite event you’ve done?
Angie: Oh, there have been so many good ones! We get such a great crowd, it’s always really mellow, nice people, very friendly, a very good vibe. I can’t pick a favorite, they’re all so good.

photo from Egg & Dart's Facebook

brooklyn spaces: What made you pick this neighborhood?
Angie: Our studio is really close, just a couple blocks down. And I love the neighborhood, I’ve spent a lot of time here. There’s metalworkers over there, our next-door neighbor has a vintage shop; it’s just mechanics and nice people all around. We were lucky to find something here.

photo by Rachel Eisley

brooklyn spaces: What are your goals for the future of the space?
Alita: I’d like to have more people doing more stuff. We have a theatre director coming to look at the space, and we’re trying to find someone to help us book music, and someone to build up the gardens. There’s a lot of possibilities for collaboration.
Angie: We love people who want to work with us, because that makes it more fun. That’s really the point. It’s not just our thing; we like everyone else’s ideas too.

photo from Egg & Dart's Facebook

brooklyn spaces: Has anything about doing the space surprised you?
Angie: It’s kind of like an organic thing that changes and goes in different directions, but that’s what makes it fun and interesting. We don’t know who’s going to come to us next!

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Like this? Read about more collaborative event spaces: Page Not FoundHive NYC, Greenroom BrooklynThe SchoolhouseBushwick Project for the Arts

red lotus room

space type: parties | neighborhood: crown heights | active since: 2009 | link: blog, facebook

The Red Lotus Room is breathtaking. The first time I went was for BANZAI!!!!!, a surreally crazy art and performance party, full of elaborate costumed revelers, an eclectic selection of multimedia art, and performances from drag acts to DJ sets. The second (and third, and fourth, and fifth) time I went back was for the famous Shanghai Mermaid party, an underground, more-or-less-monthly, themed event (usually Paris, Shanghai, Berlin, or New Orleans in the twenties or thirties), where everyone has to dress accordingly. It was a beautifully bizarre experience, riding the subway out to Crown Heights in period attire, wandering down darkened streets in heels, then stepping through the door into a sprawling, whirling, huge space, walls draped with red velvet, tables laden with candles, everyone in hats and suspenders and fans, sequins and rhinestones and fringes, with cigarette girls hawking candy and treats, exotic cocktails and food, and hours and hours of amazing performers: aerialists, fire dancers, musicians, burlesque, and more. The parties start at ten and go until dawn, if not later. It’s an absolutely phenomenal way to spend a Saturday night.

Juliette, photo by Erica Camille

So how did it all get started? Read on for my interview with Juliette, who’s responsible for the whole thing.

Blue Vipers of Brooklyn, photo from shanghaimermaid.com

brooklyn spaces: So how did it all get started?

Juliette: I really had a vision. I just decided I wanted to do a nightclub like Paris in the 1920s. Paris and Berlin and Shanghai all had these very decadent underground club scenes at that time. There was so much turmoil throughout the world, but people who have traditionally been marginalized—artists, intellectuals, gay people, people of color—have historically created underground scenes as a reaction to the mainstream, which then, ironically, takes its cues from the underground. Anyway, at the very beginning, my dear friend Tanya Rynd suggested that i throw some parties in lieu of trying to start an actual nightclub, to see if anyone was interested. For the first party, I think we each sent out fifty emails, and we were really particular about who we invited, because we wanted people who would really get it and appreciate it. And it was amazing. I had friends who had this space in Dumbo, and even though Dumbo hasn’t been dangerous for a long time, at night it’s kind of desolate, and four years ago even more so. People would be walking around going, “Are we in the right place?” and they’d walk through this maze of tagged walls, and then they’d hear music, and they’d walk in and it was just complete glamour, candlelight and chandeliers, the whole thing. It was really unexpected, which for me is part of the magic. You want to feel like you’re in a different time and place. That’s really my goal, to make people feel like they’ve been completely transported.

Lady C, photo by Erica Camille

brooklyn spaces: It’s kind of like a gift you’re giving to people.
Juliette: I don’t think there’s enough glamour in the world, I really don’t. Even though we may not have any money, we certainly can have glamour. If you have talented and creative people around you, you can make anything you want. But it’s definitely a lot of work, you have to be really obsessed to manifest your vision because it’s definitely against all odds, sometimes.

photo from Red Lotus Room’s blog

BANZAI!!!!! co-creator Eric Schmallenberger, photo by Gabi Porter for New York Metromix

brooklyn spaces: So what happened to the Dumbo space?
Juliette: Well, we outgrew it really quickly. Shanghai Mermaid got listed on Nonsense NYC, which is a wonderful list, and Jeff Stark wrote something very nice about it—I think he mentioned that we use real glassware. It was really exciting, but it made the party huge. And the landlords happened to be driving by and they called the cops and the fire department. About a dozen fire trucks and cop cars descended on the space. They walked in and were like, “Oh my god.” But they stayed for like an hour. Amber Ray was performing when they finally turned the lights on and the music off, and everyone started booing. I said, “You know what? You’ll look way cooler if you let her finish her number.” And they said okay. They were really, really cool.

unnamed (2)

photo by Michael Blase

brooklyn spaces: Did you get the Red Lotus Room right after that?
Juliette: No. We were mobile for awhile, which was so much work. Everything at Shanghai—tables, chairs, tablecloths, bar, chandeliers, curtains, the stage, the lights, the sound—we had to bring all that with us. Then we’d set up for hours, and when it was over, I’d be sweeping the floor in a ball gown at seven in the morning. So I knew I needed my own space, I didn’t want to keep setting up and breaking down. But finding a space in Brooklyn is super hard. I looked for a year and a half. I really wanted Red Hook, I wanted something on the water, I love turn-of-the-century warehouses, but finally I realized I had to be realistic. I like that it’s in Crown Heights, that people have to go a little bit out of the way to get here. I think when you have to work harder for something, you appreciate it more. Like the dress code. I hate to turn people away, but if someone’s going to go spend money and time to create an outfit from another era, I don’t want other people to come in in a polo shirt and jeans. It’s not fair and it breaks the whole illusion.

Trixie Little & the Evil Hate Monkey, photo by Benjamin Mobley

brooklyn spaces: What’s your relationship with the people in the neighborhood?
Juliette: I try to be a part of the community, and I’ve had a great response. I support the neighborhood, I buy everything I can around here. And there’s all these little kids, really nice kids, and they don’t have anything to do, so sometimes I let them come in, and I show them the backstage area and all the costumes, and I let them on the stage. I really want to try to do kids’ workshops or classes here, it’s definitely something the community needs. On the whole, there’s good things and bad things about gentrification. I remember being at Home Depot when we were first building out the space, and this guy said, “I’m so happy white people have moved into this neighborhood.” I said, “You are?” and he said, “Yeah, because now when you call the cops, they come.” That just gave me the chills.

Maine Attraction, photo by Michael Blase

Maine Attraction, photo by Michael Blase

brooklyn spaces: Who are some of your favorite performers to work with?
Juliette: Les Chauds Lapins, they were the very first act at the very first Shanghai Mermaid. I love Hot Sardines, Baby Soda Jazz Band, Blue Vipers of Brooklyn—they were also at the first Shanghai Mermaid. For burlesque performers, I tend to go for people who are costumey and conceptual, like Veronica Varlow, and Maine Attraction, she’s got this great personality, very Josephine Baker. Amber Ray performed at the April in Paris party, when everything was very French and dramatic. Then there’s the fire performers, there’s so many great ones, like Reina Terror, Christine Geiger, Lady C and Flambeaux. And for aerialists I adore Seanna Sharpe, and of course  Anya Sapozhnikova from House of Yes and Lady Circus; she’s another example of someone who’s not only a performer, as I am, but who works her ass off to run her own venue while performing all around town. I’m very impressed with her and her dedication.

BANZAI!!!!! photo by Gabi Porter for New York Metromix

brooklyn spaces: Do you think the exclusive nature of the parties attracts people?
Juliette: Shanghai Mermaid is not exclusive, and I’ve never wanted it to be. Everyone is welcome. It’s just that for survival it had to be really on the down-low. Although lately it’s not so down-low anymore; it’s listed as a venue on Time Out New York, Gothamist just wrote about it, the Village Voice called it the “Best Literally Underground Cabaret Show.”

photo from shanghaimermaid.com

brooklyn spaces: Since this is a Brooklyn blog, tell me your thoughts on being in Brooklyn these days.
Juliette: I very much believe in Brooklyn, in the Brooklyn scene. I think Brooklyn’s really exciting. There’s still a little bit of a Wild West quality here, which I don’t feel like Manhattan has anymore, it’s gone really corporate. The party-throwers in Manhattan, they have PR agents and big websites, they want to do a lot of corporate stuff. I usually stay away from that. There’s definitely money in it, but the thing is, who are you creating it for? Not that people who go to corporate events don’t deserve something fabulous, but it’s just not something I’m going to go after. I guess I’m a purist.

Blue Vipers of Brooklyn, photo by Erica Camille

brooklyn spaces: What’s one of the best, most beautiful memories from the parties?
Juliette: I’ll always remember the very first moment at the very first Shanghai Mermaid when the curtains opened and Les Chauds Lapins were playing, and I looked around and saw all these people dressed so beautifully, and I thought, “We did it, and it’s so lovely!” It really was how I imagined it. That’s a great memory. Opening night at the Red Lotus Room was really exciting too. It’s a tremendous amount of work, but it is super rewarding to be able to do something like this and share it. And I’ve always been very, very blessed to have beautiful wonderful people come. When I walk down the aisle, people grab my arm and say, “Thank you so much for doing this.”

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Like this? Read about more underground party spaces: Rubulad, Newsonic, Gemini & Scorpio loftThe Lab (Electric Warehouse), 12-turn-13Gowanus Ballroom, Big Sky Works

house of yes

neighborhood: east williamsburg | space type: performance venue | active since: 2008 | links: website, facebook, twitter

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.

***

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

werdink / ninja pyrate

neighborhood: east williamsburg | space type: screenprinting \ events | active since: 2010
links (werdink): site, blog, myspace, facebooklink (ninja pyrate): facebook
contact (werdink): contact@werdink.com; 917.204.2976 | contact (ninja pyrate): ninjapyrates@gmail.com

Even though I live about ten minutes away from them, I’d never heard of Werdink Screenprinting Boutique or Ninja Pyrate. And maybe you haven’t either—but believe me, that’s going to change. They’ve got  an amazing hybrid space, encompassing a high-end screenprinting studio, a boutique shop selling apparel and skateboards (all printed onsite), a multipurpose event space with a rubber floor and an aerial rig, a DJ setup, and a recording studio in a pirate ship. A pirate ship. And they’re really eager to open the space up to the community, to see what people can do with it.

Who are these amazing people? Matthew is the Werdink screenprinter, and his sister Krisstina and her boyfriend Jeff are still figuring out more amazing ways to use the Ninja Pyrate space. Plus they’re all well connected to the crazy Brooklyn creatives: Werdink did a screenprinting truck for the first three Lost Horizon Night Markets and shares tips with Bushwick Print Lab; Krisstina pals around with one of the girls from House of Yes and Lady Circus who started Make Fun; their space is literally downstairs from Shea Stadium.

Scroll down to hear more from these awesome people!
[all photos in this post by Alix Piorun]

Read More about werdink / ninja pyrate

big sky works

neighborhood: williamsburg | space type: circus | active since: 2011 | links: website, facebook, twitter

Wau Wau Sisters at Big Sky Works

When I was in college in New Jersey, we used to come to Brooklyn to hunt for weirdness as much as we could. The first time I came to Galapagos was probably in 1998, when it was still in Williamsburg, and I saw some totally insane shows there. One of the best was the Wau Wau Sisters (Tanya Gagné and Adrienne Truscott), an “acroband” who wear crazy costumes and sing ribald songs while balancing on each others’ shoulders or sharing a trapeze. They were sensational.

 

Tanya, photo by Maximus Comissar

Where are they now? Still performing, of course, mostly in the UK and Australia. But when they’re home, Tanya—who happens to be one of the warmest, most exuberant ladies I’ve ever met—runs a circus school, Trapeze Loft, in an incredible community art and performance venue, Big Sky Works. At Trapeze Loft you can take classes in things like partner acrobatics, hula-hoop, trapeze, wire-walking, silks, cloud swing, and contortion. And at Big Sky Works you can see an insane variety of crazy, crazy, fabulous shows, with acrobatics, circus freakshow stunts, live music, projections, pie fights, clowns, burlesque, drag, and just all manners of creative weirdness. I actually got to see the Wau Wau Sisters do a farewell show there before they headed overseas, and they were even more sensational than I remembered. I’ve since been back for a handful of events—including Coney Island–based Mermaid Musee, the spectacular Morgan O’Kane‘s CD release party, and a benefit for Vic Thrill—each more weirdly wonderful than the last. Big Sky also collaborates with lots of amazing local groups, including Funny Bone Theatre, a comedy-based after-school program for kids.

Head over there for some old Williamsburg–style freakiness as soon as you can. But first, check out my interview with Tanya!

from Great Aerial Reef, 2006

brooklyn spaces: Have you been a performer your whole life?
Tanya: I grew up doing theatre and gymnastics and all that, but I don’t come from a show-biz family. I started studying circus when I moved to New York in my early twenties, and then I moved to France and Spain and San Francisco and trained really hard for a few years, and then I came back to New York and opened the Trapeze Loft in ’99. I started off giving private lessons, and I was slammed. We were a little bit ahead of this grand circus curve; at that point there was no Elizabeth Streb, no Circus Warehouse, no Sky Box, nothing. Now there’s so many spaces, which is wonderful.

Miss Ekaterina as the world's most terrifying unicorn

brooklyn spaces: Is it a good community? Do you guys all share tips?
Tanya: I definitely check them all out, and I know a lot of the teachers over at House of Yes and Lady Circus. A lot of the students take classes at all the spaces, and that’s cool because they can see what everyone has to offer. I’m kind of jealous of the students now, because when I came to New York there was only one person to train with, Irena Gold, this crazy old Russian lady who trained for Big Apple Circus.

brooklyn spaces: Why did you move the Trapeze Loft into Big Sky Works?

Tanya: I wanted to expand the possibilities. The Trapeze Loft was about half this size, so you couldn’t have a class with more than four or five people. This space is really ideal. The ceiling is seventeen feet high, and you can rig anywhere. I knew it would be a lot of work, because when I first got it, it was just an empty space. But I decided to take the risk. I think there’s a need for it in the neighborhood, there’s not enough underground, kooky things going on, you know? So I got the space and drew up a really basic plan. And then one of my students who’s a welder was like, “I’ll weld the railing!” And one of my friends who’s a carpenter was like, “I’ll build the stage!” Janet Clancy and Kris Anton, who are my technical directors now, and the most awesome people in the world, they helped install all the lights, sound, and rigging. It was like a tiny village all coming together. It was really nice seeing all these people saying, “We want to help make this happen.” It came together really fast, like within six weeks. It was a ton of work, but we kicked ass.

photo from Big Sky Works' Facebook

brooklyn spaces: Do you choreograph all the shows yourself?
Tanya: It depends. Some of the shows I choreograph, but the one we had last weekend was a circus cabaret, everyone coming with an act, everything from aerial to clown to juggling. Other times people will come in with their own show all ready to go. The space is open to whatever. I’ve had friends shooting music videos, my friend had his wedding here, another friend had an art opening, another wants to do a pie-fight show, clowns running around with shaving cream and whipped cream pies, and I’m like, “Yes! This is your place!” I want any kind of shows, whether it’s rock and roll shows, puppet shows, dance parties—whatever the fuck you want to try out, bring it here, we’ll see how we can make it happen. It’s not just a circus space. I want it to be seen as a funhouse. That’s the kind of New York I want.

photo from Big Sky Works' Facebook

brooklyn spaces: Tell me about some cool shows you’ve had here.
Tanya: The last few were the circus cabaret shows, which bring in a great mix of people from the professional circus scene. There’s people who teach at Circus Warehouse, TSNY, Sky Box, there’s people from LAVA, an all-women’s dance and circus troupe I used to be a part of. It’s a great way to try out a new act and meet new people in the community. Usually I have a host; among them have been amazing performers like Circus Amok‘s Jennifer Miller, Miss Saturn, and Murray Hill. Recently Butt Kapinski, she’s like a private eye investigator clown, put on an amazing show with a live jazz band. Some other great performers I’ve had here are Ambrose Martos, Chris Rozzi, Magic Brian, Amy G, Amazing Amy, Vic Thrill, Lone Wolf & Cub, Mermaid Musee, Miss Ekaterina, and members of Suspended Cirque and the Bindlestiff Family Cirkus A couple of weeks ago one of my teachers did a student showcase. My friend BAMiAM.tv is going to start putting on a monthly party with bands, aerialists, video projections.

Corn Mo, photo by Maximus Comissar

brooklyn spaces: Do you think being in Brooklyn influences a space like this, or that spaces like this have an impact on Brooklyn?
Tanya: Yes, yes, yes. When I moved into the neighborhood in 1992, I lived in a place called Keep Refrigerated, near the Mustard Factory, and there were so many crazy abandoned buildings. This place was full of crack and cars on fire and hookers. So if you wanted to put on a show, you just went into a abandoned building and put on a show. Obviously that doesn’t exist anymore, that period’s over. But I feel like anyone can still put on a show, you don’t need a million dollars or a fancy producer and director. In that sense I think Brooklyn has definitely influenced how I look at making shows. Just because all the fancy high-rises and people with money are moving into the neighborhood, that doesn’t mean this place can’t be kooky anymore, and it doesn’t mean we all have to leave. It’s still awesome here, just in a different way. I want to keep some freakiness, and I think the new people moving in want the freaky shit too. That’s why I want the space to get more visibility, because I feel like it’s still pretty underground, and I want to get people here to see all this great stuff.

***

Like this? Read about more performance spaces: House of Yes, Red Lotus Room, The MuseCave, Rubulad, Gowanus Ballroom, Chez Bushwick