"Full of beginnings without ends ...."
Ursula K. Le Guin
‘I Just Work Here: Business Unusual’
Duration: 8 hours
I Just Work Here is a series of performances in urban and rural spaces. These performances are informed by my work experiences in blue and white collar settings. The character I embody for the series is a caricature of the working woman, a feminine persona that I have donned for some of my jobs, especially as a woman in the tech industry. Often her office attire is a stark contrast to the landscape in which the performance occurs. This character has a controlled sex appeal that gives her some power by playing into stereotypical gender-roles and engaging the male gaze. The character performs repetitive, physically intense labor and her labor yields no product. In a larger sense, the I Just Work Here series raises questions about what work is.
‘Behind the Table’
Duration: 3 hours
Time serve as a frame to enter a timeless space where the action or actions take their own course spontaneously influenced by all the components present in a given space, times and bodies.
Christine M. Babic
‘Strange Land Sceneries’
Duration: 8 hours
My work, my ideas are rooted in my culture and the land from which I was born. I am always writing and rewriting my voice as an indigenous person; finding ways to evolve as a native woman and expose the American Genocide, termination in disguise, blood quantum & all that
encompasses colonialist narrative; ways to personally and collectively decolonize through poetic image and inherently political actions.
Jordan T. Paul
Duration: 1.5 hours
My work seeks to explore the uncanny distance between measured time and felt duration.
‘The Song of a Soldier on Watch (The Song from the Grave) One Man Opera’
Duration: 7 hours
I fervently believe that performing body can become electrified after certain period of time being in a particular state of mind, affecting and disturbing the molecules of its surrounding. However, I don’t believe that duration, by default, can produce a powerful performance but rather more the possibility of a performer to compress the floating time in singular presence.
Duration: 3 Hours Monday - Friday
I use performance in my work, adopting the pseudonym of The Hobbyist, to activate my created objects and act as a public face to spread a message of environmental awareness and agency. I see most of my objects as props to use in my public performances, creating a handmade environment for my character to exist in: an imaginary world in which humorous and absurd individual actions can make a difference against the gigantic environmental catastrophe we currently find ourselves in. I see my performance work as a re-imagining or continuation of what Mierle Laderman Ukeles started with Maintenance Art, publicly gathering, sorting and washing trash in a highly visible and absurdly decorated jumpsuit.
Syniva Whitney / Gender Tender
Duration: 8 Hours
Living landscapes and portraits inspired by queer history happen in surreal time. Strategies are used to softly sabotage, to melt like butter, to sing like the horizon.
Luke Martin & Aaron F. Breilyn
Duration: 8 Hours
'recursive retent' has several entangled concerns: the poetics and politics of listening, labor (specifically as it pertains to the workday), a negation of capital-based productivity, a situation at once strictly composed and firmly open/experimental, and the mental/physical relationship that develops between performers throughout the piece.
Duration: 37 Minutes
In Paces, all elements of the performance undergo a gradual modulation. What looks like a repetition on first sight, is a minimal alteration of the previous: a continuous exchange of equal values, that gently draws the audience into a space of perpetual movement.
No movement ever to be repeated in the exact same way, no picture ever to be taken twice: we live our lives in the midst of inconstancy. Yet, we get along in a surrounding of constant change: blindly we trust, that also tomorrow we will recognize the world as such.
'Performance and Sonic Obstruction of Sounds (Revised, 2018)'
Duration: 1 Hour
The human capacity for temporality is among those bundled together under "the faculties" that I am trying to denaturalize. Although they are, for the most part, taken as simply given, they are produced and articulated (and disarticulated) as social, political constructions and prohibitions.
‘I Will Not Say Nigger’
Duration: 3 hours
As an interdisciplinary artist/activist, I explore the embodied experience(s) of the Black female as Other in the united states regarding colorism, racial passing, hair politics, and sexuality while investigating the gains and losses that derive from these experiences. I am interested in how they might be explored at the intersection of installation, performance and social practice. Using a historical and sociological Black feminist lens, I invite audiences into spaces in which they may consider their role(s) in these constructs and cultural relations, regardless of race, experience or identity. With a background in video, digital photo, illustration, and theatre, I draw process and materials from these disciplines while finding inspiration in popular culture, her/history, and personal narratives. While engaging with regional communities in the development, and investigation of my creative practice and research I also explore the interracial and interracial terrains of the communities within which I am working. This may take the form of collaboration and education, or simply community building, allyship, and support.
Duration: 3 hours
I love durational performance work. I love the questions it brings up around labour, artist’s work as labour, boredom and what happens after boredom, the possibility to hold multiple oppositional or contradictory ideas/emotions/places within one larger piece. It also really separates us from what our assumptions are as an audience about entertainment or the nature and function of spectacle and the role of ‘performer’.
Duration: 5 Hours
I wish to approach time as reflective of the multitudes it is experienced therein- not inflicted, but felt.
‘A walk towards the sun, the moon and the stars…’
Duration: 9 hours / 18 solos
A huge part of my performing practice has involved designing solo’s made uniquely and
specifically for one individual. This has been an essential aspect of my performance interest and research since 2004. There have been a myriad of iterations of these solos
over the last 14 years. The most recent version, A walk towards the sun, the moon and the stars..., creates a very intimate performance experience that is set in sequence but is adapted as the solo unfolds and I meet the person I am performing for. The solo begins with a note that says, “walk with me”. I then blindfold (with permission) the audience member and bring them into a small space. Together we look at a series of questions and inquiries into “what is essential”. The performance involves viewing a film together, reading questions written on small pieces of paper that I display on the floor, a mirror, dancing together, being seen, and giving a dance that is for only them. We end sitting side by side on a couch and they are offered a drink. We sit quietly, listen to music, sip
our drinks and reflect on our time together.