fbpx Kembra Pfahler | CIRCA

Kembra Pfahler is an artist, performer, musician and cultural catalyst whose influence has shaped the countercultural landscape of New York for more than four decades. Working across performance, music, film, fashion and visual art, she has developed a singular artistic language that combines radical self-expression, humour and transformation to challenge conventional ideas of beauty, power and identity.

A key figure within the Lower East Side underground, Pfahler is best known as the founder of the cult death-rock group The Voluptuous Horror of Karen Black and for her philosophy of Availabism, a practice centred on making creative use of what is readily available. Through performances, drawings, costumes, photographs and her celebrated Sit-Ins, she has consistently reclaimed the body as a site of artistic freedom while inspiring generations of artists, musicians and performers.

In 2024, Pfahler collaborated with CIRCA on The Manual of Action, a twelve-week public programme that transformed digital billboards into a classroom for creative liberation. Coinciding with the tenth anniversary of Future Feminism, the ground-breaking movement she co-founded alongside Anohni and Johanna Constantine, the project invited audiences worldwide to embrace creativity as a force for personal and collective transformation.

Pfahler’s work has been exhibited internationally and is held in the permanent collection of the Museum of Modern Art, New York. Through a practice that continues to blur the boundaries between art and life, she remains one of contemporary culture’s most original and influential voices.

Circa Commissions

Kembra Pfahler, The Manual of Action

Long before the internet taught everyone how to perform themselves, Kembra Pfahler was already inventing new ways to become. Painted blue, her teeth blackened, wrapped in costumes assembled from whatever could be found, borrowed or rescued, she emerged from downtown New York as neither musician, artist, teacher nor performer, but as something more difficult to define. For more than four decades, Pfahler has occupied a space between ritual and rebellion, transforming the body into a site of possibility and everyday life into an ongoing act of creation. Through performance, music, film, fashion and education, she has consistently challenged inherited ideas…

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ESSAY

Kembra Pfahler in conversation with Josef O’Connor

The Manual of Action was one of the first things I did in the 80s in New York City. It was the first performance I curated and that I participated in. My greatest hope is that the people coming to see these films and experience the classes will be encouraged to investigate their creativity, as I did. Sometimes it’s difficult to organize your thoughts around performance, drawing and creativity. The Manual of Action is a kind of gentle discipline. It’s a way to help people organize their thoughts and practices daily to help their creativity emerge. I would like people to see creativity as a muscle that needs to be exercised. I believe each of us is creative. I’m not speaking about becoming a famous artist or even becoming an artist, it’s more about teaching people how to give value to their creative thoughts and destitute devaluation. The Manual of Action is me sharing, it is the antithesis of being destructive. I don’t like the idea of ever causing harm in performance. Hurting anyone, hurting myself, hurting others. It’s very important to me that there’s love and caring in performing. Whenever I’m working with young artists who want to move towards some destructive element, I usually encourage them not to perpetuate a negative, romantic, destructive idea of an artist’s life. I think that’s got to be flushed down the commode. I think there’s no room for that right now. The room for being destructive and hateful towards oneself. Life’s already so difficult.

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