"Full of beginnings without ends ...." 

                                                                                             Ursula K. Le Guin

Sarah Berkley 

‘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.

Mariel Carranza

‘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.

Branko Miliskovic

‘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.

Arianna Richardson
'Plastic Party'
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 
'Melted Riot'
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 
'recursive retent'
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.
Petra Zanki 
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.

Gust Burns 
'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.
Eleanor Kipping 

‘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.


‘Parfumier Mikiki’

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’.

Austin Larkin 
Duration: 5 Hours
I wish to approach time as reflective of the multitudes it is experienced therein- not inflicted, but felt.
Alia Swersky

‘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.

Takahiro Yamamoto
'Architecture of Body / Body of Architecture'
Duration: 5 Hours
Using pragmatic actions on the floor to move from one point to the other, this durational performance locates a performing body and its viewers in relationship with the wall, floor and ceiling. Positioning a human body as moving architecture, it exhibits a spatial occupancy of human body in time.
Ania Catherine
Duration: 2 Hours
Non-fiction is an exercise of re-framing. Bodies watch and perform unremarkable physical actions positions removed from symbolically loaded surroundings. Through this, the bare bones of a life and similarities across all embodied existences come into focus.
LIMITS (Corrie Befort & Jason E. Anderson)
'H (Hallway, extended mix)'
Duration: 3 Hours 
The subjective experience of time and its direct relationship to memory and perception are for us most immediate and compelling within the time domain. Our works consider present, suggested, sensed, recalled and projected time, which we use to telescope and extrapolate events and narratives through sound, image, movement and text.
Robert Campbell
Duration: 54 Minutes - Running 24 Hours - Monday-Friday
My multi-channel video work is comprised of slow, painterly tableaux meant to invite the viewer into an interior
dialog/reverie with the compositional elements presented. In an attempt to expand the field of cinema, I am exploring an alternative approach to cinematic time through encounters with sound, movement, color, perspective, composition, and a series of loosely connected themes.
Sunken Cathedral
'Hope, and Suffer, and Wake'
Duration: 3 Hours 
Our compositions strive warp the listeners perception of time by creating sonic pathways to the subconscious making long passages of time feel like moments.
Max Kraushaar
'Carson City'
Duration: 4 Hours 
The crux of the piece is “Making the most out self-initiated difficulties.” People would ask how I was doing and I would respond that I felt “pretty good,” and that I had “gotten myself into this situation and would get myself out.” That feeling of self-assurance became a source of strength and awareness.
Jessa Carter & William Hayes 
'Because I Was Standing'
Duration: 20 Minute - Looped 3 Times
Because I Was Standing - a short film expanding on the work of author Clarice Lispector, attempts to nest notions of foreignness, commoditization, motherhood and mother tongue within a dialog-less framework that references Lispector’s unconventional use of language to depict non-linear time. The original score includes written and improvised cello, electronics, processed vocals, and guitar distortion developed and recorded to the film at varying playback speeds (double, half, and in reverse), using time itself to manipulate the pitch, timbre, and compositional perspective of the sound.
Donnell Williams & Sister James
'Hospitality Hour'
Duration: 3 Hours Thursday - 3 Hours Friday
Duration allows us to reorient the way clock time manages our bodies, the way we experience ourselves, each other, and our surroundings. Specifically in Hospitality Hour, duration collapses entertainment and efficacy  in that we can both immerse our audience in stories and pleasurable spectacle while also tangibly offering our audience a service, temporarily enacting an alternative service economy.
'Stay For Tea (2018)'
Duration: 6 Hours
Through the use of voice, projection, action painting, tasks, and performative reconstructions- I revisit the time of germination following excommunication from my Slavic-Christian refugee community and family incited by an unconvicted sexual assault.