"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.
'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.
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.
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.
'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.
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
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.
Sarah Cameron Sunde
‘36.5 / A Durational Performance with the Sea’
Duration: 12 Hours 48 min.
36.5 / a durational performance with the sea is a time-based project spanning seven years and six continents: New York-based artist Sarah Cameron Sunde stands in a tidal area for a full cycle, usually 12-13 hours, as water engulfs her body and then reveals it again. The public is invited to participate by joining Sarah in the water and by marking the passing hours from the shore. The project began in 2013 as a response to Hurricane Sandy’s impact on New York City and the parallel that Sunde saw in the the struggle for artists to survive on a daily basis in the city and the struggle of humanity to survive in the face of sea-level rise. The project was developed in Maine, Mexico and San Francisco 2013-2014, launched on a global scale in The Netherlands in 2015, and the fifth iteration was recently completed in Bangladesh. The performance is filmed from multiple perspectives and then translated into multi-channel video installations that can communicate to a wider audience.
The project will be performed at least three more times in bodies of water around the world before coming home to New York City in 2020.
'The Dowsing: Font by Anna Telcs'
Duration: Clothing worn by Yellow Fish staff for the duration of the festival + a lecture on the work.
The Yellow Fish Festival work by Anna Telcs, The Dowsing: Font is to develop a language of pattern pieces, one that can be used interchangeably to rethink the way we physically dress— how we customize and discern our choices for personal expression. The impetus for the work is the examination of the future of customizable clothing and incorporates explorations with technology and recognized symbols in fashion and will be further explored in writing and research before and after the festival.
The first port of call is the origin of dressing and the destination is the reinterpretation of the sociological implication of the codes we collectively recognize in our clothing. The nature of this work is temporal due to our changing opinions for how we regard these symbols, and also there is a time stamp on materiality and how long the clothing can be, or is designed to be, worn.
'Shendos No. 9'
Duration: 3 Hours
Sound is time. It is an articulated delineation of chunks of time. The boundaries of that articulation are usually short, suitable for consumption through recordings or concerts. But the boundaries are arbitrary, and sound (and the evolution of sound) also exists and evolves on global time-scales. It is impossible to think about or listen to sound (or music) without an implicit understanding that time is its central material. I am most interested in pursuing a "vertical time" in music. An interstitial music that converts its energy from time to space.
Alex Mari & Myani Guetta
'Haptic Delay (reperform)'
Duration: 1 Hour
Create a new and different landscape of society; we do not seek to find the answer but rather toy, play, and grapple with the metaphor of internal and external representations of identity/experience. To take up space through the center/nucleus/brain/heart, to recreate a standard – all while wondering – or rather, ignoring – how much time and space will be taken up because of this.
‘Rajio Taisou’ (Radio Exercise)'
Duration: 1 hour
This work was a relatively recent creation based on my relationship with Radio Exercise which was a national health-improvement project introduced in 1928. However I have practiced this traditional physical art since I was around three years old. Regardless of how old I become, I can connect with my childhood self and recognize the fragile memory with my family and friends. Collectivism and nationalism came into play in this piece as I recognized a major historical turmoil in Japan and the rest of the world. The exercise indicates eternal submission to the hierarchy and a nuanced distinction between what is authentically cultural and what is simply manipulative and dehumanizing.
'Thresholds Embrace (1948-2018)'
Duration: 30 Minutes
Atmosphere* and the sustained absence-ness of sound is a constant that always should be addressed, considered, and observed. The sonic medium (a transfer of energy or vibration) is a ceremonial exercise that is always leaving, drifting, or rushing towards in its own end. Like Time, it can be understood as a succession of fleeting moments that will only remain captured in various nostalgic formats.
Atmosphere: a dynamic controlling or marking of a specific moment, celebrating a passage of time that dictates the specific emotional climate of a non-emotional region, one that is outlined by defined boundaries and parameters.
Odd Park (Opening Festival Dinner)
Odd Park was created as the opening meal for Yellow Fish Durational Performance Art Festival, held in Seattle Washington. It was a space created to welcome artists, donors, and viewers and to collectively begin to welcome the blurring of the public and private, the performative and interpersonal, and to beginning of sinking collectively into durational work.
Made in overlap and collaboration with artist Laura Cassidy, the Yellow Fish Closing Ceremony was a mixture of simple grease, frozen smelt rivers, nectarine hammocks, and hot cheetos laid under vocal, sound and instrumental work by Cassidy. Both food design and sound work moved from the three phrases created and repeated in Laura Cassidy's piece.
Photography, Filming, Editing, & Festival Social Media Content : Jessa Carter
Filming: J. Maxwell Bennett