Under the direction of Alice Gosti (Italy/Seattle), Yellow Fish presented four festivals from 2013-2017 which aimed to present Durational Performances lasting a minimum of an hour and a maximum of 48 hours.​
Each artist who participated in a previous editions of Yellow Fish // Epic Durational Performance Festival nominated an artist for the following edition. From the database created with the nominations, Alice Gosti, began to build a roster of artists representing a wide range of mediums which made sure the festival allowed for a peculiar variety of creators, some who may have never engaged with durational performance.
In 2018, under the new leadership of Babette DeLafayette Pendleton, Yellow Fish presented its fifth festival. Artistic/curatorial direction and administrative support took place in collaboration with Jillayne Hunter, Marlys Yvonne, and Jessa Carter. The festival altered its core curation by placing an emphasis on time that could be of any length. This broke through the constraint that durational work inherently means long. The fifth festival enhanced the durational aspect of Yellow Fish by pushing the festival to involve continuous performances throughout its five day run.The festival’s curation included music, film, food, and fashion with the aim to integrate and represent these mediums within a Durational Performance platform.
Beginning in 2019, under the umbrella of the MICA MFA Curatorial Practice program, Babette utilized the program's resources to interrogate the purpose of Yellow Fish, re-envisioning its viability as a platform for Durational Performance Art. This intensive period focused on ways to include space for curatorial investigations rooted in artistic experimentation, research-driven exhibitions, archiving practices, sustainable collaborations, and audience engagement.
In 2020, Festival VI seeks to deepen the commitment to supporting methods of sustainable care while simultaneously refining the impact of Durational Performance in the larger context of the Live Art and Performance Art fields. Babette DeLayette Pendleton will be joined by Eleanor Kipping (NYC)  and Rana San (Seattle)  in curating this year’s festival. 
Yellow Fish aims to bring awareness to the significance and study of time through cultural practices and artistic mediums, while facilitating community involvement in the historical and contemporary thought surrounding Durational Performance.
 
Yellow Fish Festival provides an organized platform for innovation and experimental curation of Durational Performance that supports the exploration of time in constructed actions and ideas. The adaptable festival format supports inquiry within movement, sound, taste, clothing, language, environment, and time as concept and material in performance.
The festival provides support for professional local, national, and international artists to gather, generate, and present duration-based performance in diverse venues and spaces. An extension of the festival is a digital archive of research, writings, reflections, and documentation of past artists, presenters, and curators. 
Yellow Fish is currently run by Babette DeLafayette Pendleton.

ABOUT

HISTORY

PRESS

A heightened, radical experience:

Babette Pendleton on Yellow Fish Durational Performance Festival

by Kaitlin McCarthy — August 23, 2018

Yellow Fish Durational Performance Art Festival V:  

TIME PASSED 

by MAI: Immaterial Journal — 2018

Yellow Fish Durational Performance Festival

2014 at Hedreen Gallery

by T. S. Flock — July 9th, 2014

Sisyphean Punishments

by Amanda Manitach — July 10, 2014

Slender Manatees, a Wolf Skin,

and a Kiddie Pool of Pig Blood—

The Yellow Fish Epic Durational Performance

Festival Has Begun

by Brendan Kiley — July 9th, 2014

Sensory Overload

by City Arts Staff — July 28th, 2014

Just This, For Now

by Sharon Arnold - July 29th, 2014

COPIOUS CONSUMPTION AND ASSHOLES

by Jeremy Buben - July 16, 2014

It’s About Time: The Yellow Fish Durational Performance Festival—And Why Is Durational Performance So Popular Right Now?

by Brendan Kiley - July 9th, 2014

Photographs by Jillayne Hunter 

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