Install the app by tapping the Share Icon 
in the navigation bar, then tap “Add to Home Screen.”
Install the app by tapping the three dots 
in the navigation bar, then tap “Add to Home Screen.”
Reserved space for other instructions
For 2 nights in August, Murmurs will host a restaging of Ron Athey’s iconic 1995 performance Trojan Whore which takes inspiration from the Venus of Willendorf using hand-crafted facial & body prosthetics. Including his longtime collaborator Hermes Pittakos, the performances will be punctuated by a mid-week salon where guests are invited to engage in conversation led by Athey & his chosen peers.
Please join us for two evenings of one performance, August 17th and August 24th.
6:30-7:30PM: Opening reception with cocktails
7:30-8:30PM: Performance
8:30-10PM: After-party with dancing
A Modular Sacred Theater: The Myths series that Athey and Pittakos have been working in both video and performance works include Hierophant Workings, Pasiphäe Witch Queen of Create: A Gloryhole Origin Story, Asclepius/Acephale, Apotheosis: Becoming the Minotaur. WILLENDORF actions continue this calling in the medium of living installation.
In a two part performance installation, Athey revisits his 1996 memorial tribute to Leigh Bowery, The Trojan Whore, embodying the pocket size icon, The Venus of Willendorf. Act 2 goes horizontal, conjuring the bejeweled 2nd century martyr St. Hyacinth of Caesarea, reanimated, set in Pittakos’ vitrine of viscera.
Conceived, created and performed by Ron Athey and Hermes Pittakos
Live sound accompaniment and DJ set: Christos Tejada
Production assistance: Karen Lofgren
Special acknowledgements to: William Wei, Heather Gray, Amina Cruz, Federica Dauri
Ron Athey has been working at the vanguard of performance art for 25 years. Self-taught, his work developed out of post-punk/pre-goth scenes and begins with Premature Ejaculation (PE), an early 1980s collaboration with Rozz Williams. Their approach to performance art was informed by the club actions of Johanna Went and the formulation of Industrial Culture, the idea of psycho/neuro acoustics in sound performance. In the 1990s, Athey formed a company of performers and made Torture Trilogy, a series of works that addressed the AIDS pandemic directly through memorializing and philosophical reflection.
This work is characterized by the physical intensity of 1970s body-art canon, such as COUM Transmission, Carolee Schneeman and the Viennese Actionists, which toured internationally. The trilogy’s final chapter, Deliverance, was commissioned and premiered at the ICA London. In the 2000s, Athey developed genre-stretching theatrical works like Joyce and The Judas Cradle, and a series of major solo performances such as The Solar Anus, Sebastiane, Self-Obliteration Solo and Incorruptible Flesh, a series of solo performances that reflect Athey’s collaborations with the late Lawrence Steger.