The Artists of “Does Live Art Have to be Experienced Live?”
All performances at SOIL Gallery (112 3rd Ave S, Seattle, WA 98104) unless otherwise noted.
Scraping and peeling off the paint from the walls of SOIL gallery. To reach the black layer I painted in 2007 for Hidden Spaces. An immersive, laser and sound installation in collaboration with Ed Mannery and Ben McAllister. As in an archeological dig the black layer (and the many that lay over and under it) provides evidence of space and culture that have been changing and accumulating over time. When we look at the layer—the dig—we imagine objects and people what once were there.
Occurring: 7-8:30pm Friday August 5th.
Iole Alessandrini is an artist and architect working with light in the built environment. The following are her permanent light installations in the state of Washington: Counterbalance Park, and Capitol Hill Library both in Seattle, and Luminous Forest–a solar, battery powered installation–in Edmonds, WA.
A K Mimi Allin
IN SEARCH OF BAS JAN ADER
The desire for metaphysics is inherent to human existence. -Kant
Who is Bas Jan Ader? A tragic romantic artist lost at sea 41 years ago. On July 9, 1975, Dutch-born conceptual artist Bas Jan Ader set sail from Cape Cod on a 13′ sailboat bound for Falmouth, England, for a work titled “In Search of the Miraculous.” He was enacting a hero quest for the sublime. His boat was recovered10 months later, half-submerged, off the coast of Ireland. Ader was never seen again. He was 33-years-old.
Occurring: 12-8:00pm Thursday August 4th. Continuing in exhibition August 11th-26th.
Conceptual artist, A K Mimi Allin, is making a solo journey this summer, in an open boat, with a letter to Bas Jan Ader on her hull. For 33 days, she’ll comb the Salish Sea, articulating her own path to the Miraculous.
Paint Me is a piece where we take an opportunity to connect and to rid of the separation between ‘the artist’ and ‘the viewer’. This piece explores the risk and vulnerability that is encountered while interacting with another body. How does one act towards a motionless being when presented with a paint brush?
Occurring: 3-4:00pm Friday August 5th.
Gabriella Arrastia is a current Theatre student at Cornish College of the Arts. She is very interested in exploring art made in human connection and looking at performer/audience dynamics. She is inspired by strangers making eye contact in passing and wants to incorporate that sensation into her art.
A BODY IN THE WORLD DROWNS IN IT
A BODY IN THE WORLD illuminates the relationship between social qualifiers and internal truths. Expect tomatoes, hot pink gloves, a chorus of support, and an absurd use of time warp. This is a politically conscious sci-fi musical with a sense of humor/heart and everyone is complicit.
Occurring: 6-7:00pm Saturday August 6th.
Seattle-based artist LAURA ASCHOFF is a performer/director whose investment in politically conscious art-making pushes her to read, talk about and process the social injustices she bumps up against on the daily. She received a BA in dance performance and choreography from Western Washington University in 2011. Aschoff is part of the boundary-pushing group Jessica Jobaris & General Magic (SEA). Her work has been produced by Velocity Dance Center’s Next Fest NW. Most recently her work was seen at Olympia’s first experimental performance festival, Out on a Limb. Catch Laura’s new work, YES, EVEN THAT at BASE in Georgetown September 1-4.
Percussion Within US
Percussion Within US encompasses the three themes of “Does Live Art Have to be Experienced Live?” with three works for solo percussion. Beginning with Body, Storm has programmed ?Corporel (1985) by Vinko Globokar; a body-percussion piece that strips down the familiar Romantic idea of the suffering artist and takes it to a raw extreme. For Future, the highly programmed Stop Speaking (2011) by Andy Akiho, for solo snare drum and prerecorded digital audio. This piece introduces Vicki, a speech software entity who, upon realizing her existence, struggles with her perceived consciousness. The final piece, embodying the Risk theme, is a piece he composed called Mass America (2016), which is composed using data from mass shootings in the U.S. The piece is intended to provide a new perspective on the tragedy of gun related deaths in our country.
Occurring: 6:15-6:45pm Sunday August 7th.
Storm Benjamin is an ambitious percussionist and music educator from the Pacific Northwest. He is actively involved in performing chamber music and multi-disciplinary performances in the Seattle area. After receiving his masters degree in percussion performance, he is dedicated to sharing the art of percussion with his community. As an artist, Storm strives to inspire meaningful change in the world by connecting his performance with current problems that we face in our society. Storm explores his passion for new music as the Public Relations Manager and Content Producer of the New Works for Percussion Project with anna provo and project manager Melanie Voytovich.
States of Being Live
States of Being Live will be a performance of life-sized, life drawings made on-site at SOIL. It is a durational work that will be performed with volunteer models—both spontaneous visitors to the gallery and people scheduled in advance. Each person will pose for about 20 minutes. Later drawings will layer on top of previous drawings, thus creating an accumulation of figures and a whole, un-premeditated drawing by the end of the performance.
Occurring: 1-4:00pm Friday, Saturday, and Sunday August 5-7th. Continuing in exhibition through August 26th.
Claire Brandt’s work has been shown in Seattle, Los Angeles and the Bay Area. She maintains studio a practice in Seattle’s Inscape Arts Center and is represented by the Bryan Ohno Gallery. Brandt has been awarded residencies at the Jentel Arts Foundation, the Red Poppy Art House, and the Vermont Studio Center. She was awarded a Creative Capacity Fund Grant in 2011. She received her A.B. in English and American Literature from Harvard College in 1994 and an MFA in painting from the San Francisco Art Institute in 2005. She was raised in Bellingham & Tacoma, Washington.
There will be a birth. There is a plan. There is an estimated due date. There are professionals involved. We are aware that what will happen cannot be guaranteed. I am aware that my body has been transforming, building, practicing, and rearranging in preparation for this day. This is the largest collaboration that Jonathan Brodsky and I have ever worked on – but for this performance – I’m taking all the credit.
Occurring: In Private, Monday August 15th.
Morgan Cahn grew up in Seattle. WA. She has lived in Pittsburgh, PA, as well as in Dundee and Edinburgh, Scotland. She recently returned to her hometown to have her first child. Morgan’s artworks are often a means to overcome challenges or answer questions. She is interested in the spaces where art and science collide, in DIY, and intersectional feminism. The projects will often determine the medium. She’s worked in printmaking, sculpture, textiles, video, and performance. One link in her work is a desire to bring playfulness to often serious topics.
This multi-media work employs, movement and an interactive drawing to address disconnect through displacement. It is a result of moving back to Seattle after living in NYC for 17 years and having gone through bouts of severe depression and anxiety. How I process such profound emotion is to work with intensive, focused repetition through movement and drawing. I have choreographed a 4-minute dance that utilizes frenetic, repetitive gestures that explore rumination and isolation. This movement will be repeated over the 2 hours with intermittent variations in speed. All this will take place facing the drawing, reflecting my live performance.
Occurring: 8-10:0pm Friday August 5th.
BRYON CARR holds an MFA in Performance and Interactive Media Arts. He has trained, taught and performed throughout the U.S. and Europe. In New York City he danced for The Martha Graham Ensemble, Chen and Dancers, The Erick Hawkins Dance Company, Popo and Gogo Boys and Pele Bauch Performance Group as well as, various other choreographers. In ‘02 Carr formed his own dance company Bryon Carr Dance Media deputing at the Cunningham Studio in 2003. BCDM has been presented by Michael Carson Productions, Joyce SoHo, Movement Research, Dance New Amsterdam, Dixon Place, Joyce SoHo, The Wave Rising Series, Triskelion Arts Center and Chashama Arts. Outside of New York, BCDM has shown in Seattle, Boston, and Berlin. In 2013 Carr moved back to Seattle and has been presented by the Full Tilt Festival, Velocity Dance Center’s Strictly Seattle, eXit SPACE School of Dance Take Pause The Boost Dance Festival and is currently working on a piece to be presented at the Men in Dance Festival in Oct. 2016. Carr is currently on faculty for both Velocity Dance Center and eXit Space Dance Center teaching modern and ballet classes.
Chimera Dance Theater
“To hatch a crow, a black rainbow
Bent in emptiness
Though they’re often overlooked in everyday life, crows observe, process, speak, learn, and hold grudges. Developed by Sarah Lofgren and the Chimera dancers in Seattle, WA, Caw explores the role crows play in folklore as cunning observers and sometimes harbingers of death.
Occurring: 7:30-8:00pm Friday August 5th.
Chimera Dance Theater is a nonprofit corporation with the mission to create original and accessible movement that will inspire future generations of dancers and educate the community about contemporary dance forms. Our community of dancers and choreographers generate original dances, produce concerts and events, perform locally and strive to spread excitement about modern dance. We are storytellers in love with the art of dance.
Habitus By Paintball: Lasting Dispositions In The Field of Power
Mao Zedong claimed that “political power grows out of the barrel of a gun.” In Habitus by Paintball, I give you a gun, and I give you power. Come shoot me (as art, or so say Burden and Bilal) while I read from Pierre Bourdieu’s The Field of Cultural Production and mouth off about the world’s dangerously hierarchical and socio-politicized fields.
Occurring: 4-5:00pm Sunday August 7th.
Peter Christenson is a socially informed multidisciplinary artist and filmmaker from metro Detroit. He is co-founder of the interventionist art collective Left of Centre and publisher of Null Set Magazine. His work has recently been featured at venues including Sydney Non Objective Contemporary, Museu Valencià de la Illustració i la Modernitat, the Armory Center for the Arts, and at a number of film festival programs including Edmonton International, Detroit-Windsor International, and Cinequest. Christenson is the recipient of a US-UK Fulbright Scholar Award in Art & Design, and he is an Assistant Professor of Fine Arts at Washington State University.
Pipe Cleaners – This private performance will have a duration of two hours. The first hour the artist will build a structure out of colorful pipe cleaners and the second hour artist will destroy the structure and straighten the pipe cleaners.
Occurring: In Private, Tuesday August 23rd.
Mariah Coffey – Finishing her undergrad University of Northern Iowa in Studio Arts. Coffey is involved in printmaking, performance art, and sculpture at UNI. Coffey’s performance work has been shown in several exhibits in Iowa. But this will be the first invitation to be part of a performance exhibition outside of Iowa.
OHAI … is a transformative piece in that the performer slowly transforms through the use of movement, costume, emotion, and various modes of communicational means (whispering, song, sign language, dance, pen and paper, cell, and headphones). Ohai… is about existing in space, in time, in the presence of other people and the relationship between the external and internal (meaning one’s own world and the world that includes others) as well as the devices we use to connect.
Occurring: 6-7:00pm Friday August 5th, 2-3:00pm Saturday August 6th, and 5-6:00pm Sunday August 7th.
Saskia Delores is a multidisciplinary visual artist, performer and musician whose work aims to interpret and feed the emotional and intellectual needs of the audience. In this way, you could say, Saskia is a sensory artist, in that she senses the emotional world in the space on an individual and group level and chooses the “medium” (dance, language, transformative costuming, song, video etc.) that seems appropriate for the specific installation and moment. She is also the founder of Artist & Entrepreneur and creator of How to Be a Bitch 101 (For Girls & Guys).
Muse X-Ray Machine: series #2
Inspiration, the invisible, non-palpable source of ideas, is always in question. Visitors to the studio where I work want me to show it to them, to let them hold it. They are, in a way, asking for proof.
What if, historically, engineers rather than artists had been asked for this proof? How would that change their sense of their identity? How might they have answered? Engineers have created machines that enable us to see what we have never seen before. I propose to turn this impressive progress, with humor, to the eternal questions of inspiration from a contemporary scientific standpoint: how to access it, where can it be found in the body, and how can we test for it? I believe, had engineers been asked for proof of their inspiration, they would have made a machine—an X-ray machine—to scan for traces that a muse has been, or is currently, inhabiting the brain.
The performer will be wearing a camera on her body 24/7 during the performance. There will be a live feed of what the dancer sees at all times from when she buys a cappuccino to when she walks into the gallery. Which is the performance?
Occurring: 4-5:00pm Friday August 5th, 5-6:00pm Saturday August 6th, and 7-8:00pm Sunday August 7th. Continuing in exhibition through August 26th.
Sarah Fetterman (American, born 1991. San Francisco, CA) is a Seattle-based artist working in Performative Sculpture. She juxtaposes large, chunky wood and metal sculpture with the fluid, organic movement of dancers. She attended the San Francisco Art Institute and Bennington College, and completed a residency at Franconia Sculpture Park. As a studio assistant for John Grade, she assisted with Grade’s sculpture, Middle Fork, and, as one of the four-person team, installed it in the Renwick Gallery of the Smithsonian American Art Museum. She has showed with Shunpike’s Storefronts Program and the annual Collective Vision’s Gallery Show.
John Freeman and Scott Cayton
A room filled with air.
1. To touch with the lips as a sign of love, reverence, sexual desire or greeting.
To kiss, or to be kissed, is to give warmth through a bodily collision of the gentlest of kinds; a sentiment, a ritual, and in some cases, a sacrament. As humans, it is only natural to crave physical connection. Something to shape our identity, our confidence, and a means to give us a sense of belonging. These connections can hold a heat that burns long and lasting, or hot and short lived, like striking a matchstick. Every fire is different, and requires a certain tending to with varying factors to keep roaring on. However, they all start with a spark.
This piece stands as an exploration in human attraction, a reference to the human condition, and an embodiment of the guttural fire of physical connection. It is the lingering spell of a kiss….to feel like you can finally breathe, in a room filled with air.
Occurring: 10-11:00pm Friday August 5th.
John Freeman is a video and performance artist based out of Seattle. He has participated in group and solo exhibitions both nationally and internationally. Mr. Freeman, along with fellow artists Ciaran Nash, Isabella Walsh, and Kate Macelroy, work together as “Occupy Space”, an artist run space based out of Limerick, Ireland. Since his recent move to the northwest coast of the United States, Mr. Freeman has formed the collective “Occupy Space – Seattle”, an international sister project to Occupy Space, along with a growing number of Seattle based artists.
Scott Cayton is an artist based out of Seattle. Originally a North Carolina transplant, Scott has found his voice in the Seattle art community, sharing his vision through audio/visual collage, performance art and drag.
/// We Have Decided To Feel Differently
Blueprint for Slussen
For Does Live Art Have To Be Experienced Live? Holly Keasey exhibits two text documents, which form part of a presentation of her theory on the potential for public art to be a maintained habitat of criticality.
Through a consideration of theory as athwart, tacking back and forth between being an explanatory tool and a site in itself to be examined, and Peter Galison’s notion of a ‘theory machine’ (an object in the world that stimulates a theoretical formulation), Holly has undertaken a period of research that aimed to position her practice as a model/theory machine for the act of research in itself, as a site for performative criticality. She has done this through applying the suggestion by S. Helmreich in his essay Nature/Culture/Seawater, that water is anthropologically understood as both a substance and symbol, to the developing planning model of Water Sensitive Urban Design (WSUD). By considering WSUD as a theoretical modelling system for alternative forms of urban planning and where her practice, that focuses on water as a tool to criss-cross theory and ecological concerns, could be situated within such a model, Holly has formed an example and theory for a critical formation of public art.
Holly has conducted her research by applying her site-responsive approach to theory as a site in itself. In order to do this, Holly has made use of Slussen as a conceptual framework and of herself as an exemplary site of application. This has taken the form of researching the manifestations of ‘anxiety’ and ‘comfort’ at both Slussen and within herself over a durational period. The selection of these two emotive concepts was influenced by the definition of critical as a turning point – therefore linking anxiety and comfort, as two emotions that at varying levels can be both useful and disabling, as incorporating their own turning points and therefore sites/habitats of criticality. Such a process resulted in the performative act of researching the application of anxiety and comfort in relation to Slussen, becoming a tool for Holly locating and understanding her own critical points in anxiety and comfort. This could therefore be suggested to be an example of research as performative criticality, as a turning point is created physically and conceptual through the process, whilst also allowing Holly’s practice to become a theoretical model of a critical formation of public art.
In addition, the process stimulated the conclusion that the site of theory is situated as the movement that takes place between sites/citations within the self’s physical and metaphysical landscapes. With this in mind, Holly has produced a series of blueprints that aim to locate such a site within the viewer, through a performative reading process of repetitive citations, taken from her research into anxiety and comfort in relation to Slussen and herself.
Occurring: in exhibition August 11th-26th.
Holly Keasey‘s practice is focused around an enquiry into the potential roles for contemporary art practices explored through critical views on water ecology as the personal, social and environmental.
Working from a research-based approach to site-responsive practice, Holly works with a framework that makes use of water as a tool to criss-cross abstract theory and ecological concerns. This often involves mapping of historic, current and potential future ecological situations through performative research methods. These maps are then overlaid through two select emotive concepts, which allow for a thread to be formed between the micro and macro/personally and global/pasts and futures. This research is then presented within an aesthetic form often replicating a recognised trope, that draws attention to what are often considered disparate elements of society. Previous forms have included such mediums as performance, writing, sculptural installation, sound and print-making. It is also common for Holly to produce these outcomes collaboratively, often working with specialists or community groups who have a long-term connection to a given site.
A key element to this site-responsive process is an on-going interest in the understood formats for performance and how these begin to vary when practice drifts into performative applications as a methodology of research. This is supported by an underlying ambition to assist collaborative methods of critical practice, that allow contemporary art to form contradictions to accepted ‘norms’ – To be shapers of cultural change towards alternative social-political formations. It is here, Holly’s practice also drifts into curation and education.
Table for Two
Table for Two is a live durational performance established spontaneously by the performer and the audience members. Through the basic humanistic interaction, the performer invites the audience to be a part of the performance and to share the time together.
Table for Two is an invitation to embrace the organic and primary way of human connection through the empathetic action.
Occurring: 11:30am-12:30pm Friday August 5th. Additional – Conversation:Body from 1-2:00pm Friday August 5th.
JuJu Kusanagi is a Seattle based visual artist who creates body-based conceptual art works.
Born in Sydney, Australia, JuJu spent her youth in Tokyo before moving to the United States to pursue her career.
Her works have been featured across the United States, Mexico, Japan, Albania, and Portugal. She was granted 2015 Arts Incubator residency and 2015-2016 iET+I (Institute of Emergent Technology and Intermedia) student residency, and was recently granted 2016-2017 iET+I alumni residency.
JuJu is also a co-founder and co-director of the international interdisciplinary art collective, Kusanagi Sisters.
untitled mourning is a project about physically documenting the devastating gun violence deaths our country faces each year. The artists of Lady Firm will continuously be tying ribbons throughout the day. Each ribbon will symbolize a life lost this year from gun violence. untitled mourning is about the remembrance of those often unheard of or forgotten deaths in our society. Each action stands for an individual loss while the act of tying together speaks to the immensity of the loss. In addition, the tying of the ribbons symbolizes how as a community and society we must come together to rebuild.
Occurring: 11:00am-11:00pm Saturday August 6th. Continuing in exhibition August 11th-26th.
We are Lady Firm, a group of female artists who address issues of feminism, violence, gender inequality and injustice through creative performances and artwork. Lady Firm is a collaborative firm created by badass Priscilla Dobler, a textile sculptor; radiant genius Regina Ruff, an abstract painter and colorfully crafty Maureen McCourt, a textile artist. Here at Lady Firm, we do our best to serve our community and people. Lady Firm is an artist collaboration committed to representing all persons regardless of race, sex, color, religion, sexual orientation, gender identity and disability.
Contesting borders/ Bromma
This spring 3000 flyers were printed, folded and handed out to all mailboxes of single family houses in Bromma, an affluent suburb in western Stockholm, Sweden. The flyers contained a collection of documented performative actions that each contests consecrating and normative ’borders’ confining the homogenous and segregated neighborhood, whose residents belong to Sweden’s economic and politically influential elite.
The aim of the project was to raise questions on segregation, norms and homogeneity among those actually creating and sustaining it, as well as exploring subversion within art and architecture. One action was a ’citizen proposal’, a provocation commenting on the housing shortage in Stockholm, suggesting the expropriation and division of single family houses as a means of doubling the amount of residents. When reaching traditional and social media, upset residents, YIMBYists and conservatives sparked a high-pitched but confused debate biased by arguments on entitlement, right to property and disguised racism.
Occurring: in exhibition August 11th-26th.
Sofia Larsson is a landscape architect/ interdisciplinary artist from Sweden based in Stockholm. Her research interests are materializations of values, identities and power structures in spatial organization and architecture. She recently finished a post master course called Critical Habitats at the Royal Institute of Art in Stockholm, treating the architect’s role in society and exploring ways of pursuing alternative practices. In an attempt to extend her role as a landscape architect she is influenced by conceptual and performance art and has been working within fields such as scenography, installations, graphic design, film and illustrations.
Visual Performance Scores
Anya Liftig has been working on developing visual performance scores using single issues of Ladies Home Journal from the mid 1960s. She endeavors to “perform” the pages through collage, found word poetry and live action. Her goal is to recombobulate the text and images to create a series of visual scores than can be interpreted by other women. Each issue will be published as a portfolio of scores and distributed throughout the performance community in Brooklyn.
Occurring: In Private, Tuesday August 16th.
Anya Liftig’s work has been featured at TATE Modern, MOMA, CPR, HighwaysPerformance Space, Lapsody4 Finland, Fado Toronto, Performance Art Institute-San Francisco, Atlanta Contemporary Art Center, The Kitchen at the Independent Art Fair, Performer Stammtisch Berlin, OVADA, Joyce Soho and many other venues. In “The Anxiety of Influence” she dressed exactly like Marina Abramovic and sat across from her all day during “The Artist is Present” exhibition. Her work has been published and written about in The New York Times Magazine, BOMB, The Wall Street Journal, Vogue Italia, Next Magazine, Now and Then, Stay Thirsty, New York Magazine, Gothamist, Jezebel, Hyperallergic, Bad at Sports, The Other Journal, and many others. She is a graduate of Yale University and Georgia State University and has received grant and residency support from The MacDowell Colony, Yaddo, Atlantic Center for the Arts, The New Museum, Mertz Gilmore Foundation, Flux Projects, University of Antioquia and Casa Tres Patios-Medellin, Colombia.
This performance is a continuation of a project exploring failure in the woodshop. Through failure I gained an opportunity to learn about myself from attempting to create craft objects. This project is a meditation on learning from mistakes and choosing to embrace the challenge of not always getting it right.
For this incarnation, I will be comparing failed sexual encounters and relationships to failed projects. This performance is an exercise in acknowledging failure when forced to face waste material at the end of a frustrating workday. This piece is derived from struggling to create tangible objects or confirmation that I was crafting and engaged. Woodshops, can be competitive spaces consisting mainly of male bodies. This is also true applicable to my sex life, and learning to be comfortable in my body both in the bedroom and woodshop is a task that continues to take patience, practice, and learning.
Occurring: 5-6:00pm Friday August 5th. Continuing in exhibition August 11th-26th.
Anna Lipman is a student at the Evergreen State College studying everything. She is a free spirit who finds at times, it is easier to perform than to create tangible objects. Her body of work focuses on sexual encounters within the real world as well as cyber-sexuality and the lack of gender presented within the world wide web. She is an avid printmaker and wood crafter heavily involved within the cycling community.
Anna comes from a family of artists and has found this both comforting and frustrating. She is outspoken and enjoys using art as a communication tool.
CATHARSIS is a dedicated space for idleness, failure, and insanity.
This performance is an anti-performance.
It begins where the never ending performance of I’M OKAY ends.
How possible is healing?
Occurring: In Private, Monday August 22nd.
Natasha Marin is a human being. Trying to process the harsh reality of her own subjugation produces feelings of discomfort. She actively creates spaces for women and people of color to connect and heal themselves through creative engagement. Her therapist says she is an emotional masochist. She believes this is accurate and is profoundly disturbed by how difficult it is for her to allow herself the luxury of failure. Blackness is heavy, she carries this along with a vagina, wherever she goes. You can come, just don’t touch her hair please.
The molecules between you and me
The molecules between you and me is an interactive private performance that explores how we experience dance with visual information removed. It is an invitation to experience physicality and touch outside the normal range of pedestrian interaction. It is an invitation to listen with your fingertips what cannot be perceived any other way.
Occurring: 2-3:00pm Friday August 5th, 3-4:00pm Saturday August 6th, and 5-5:30pm Sunday August 7th.
Kaitlin McCarthy is a dance artist, teacher, and writer operating in Seattle, WA since 2010. In Seattle she has danced with over a dozen local artists and presented her own work in venues all over town. Kaitlin has been a member of the Seattle Contact Improvisation Lab since 2011 and has had over 50 articles published as a writer for Seattle Dances. She teaches ballet, modern, and contact improvisation at Velocity Dance Center. Kaitlin holds a degree in dance from Mt Holyoke College.
Reclaiming the Emerald City
Reclaiming the Emerald City is a public reading of L. Frank Baum’s The Wonderful Wizard of Oz. Kathryn Cellerini Moore invites audience members to sit with her in a specially-crafted reading space to listen to the story of a girl who tries to find her way home.
Like Dorothy, the artist visits the Emerald City for guidance. In order for the artist to alleviate sadness and physiological distress associated with traveling to Seattle, emotions that developed when her mom passed away in the city last December, the artist will host a transformative reading of The Wonderful Wizard of Oz in the Emerald City to create new and positive memories through the act of storytelling.
Occurring: 12-8:00pm Thursday August 4th.
Kathryn Cellerini Moore explores the ways in which formative experiences continually effect health, behavior and worldview. Her time as a research assistant working with young teenagers, in addition to her ongoing health concerns, give Moore the firsthand experience and understanding that body, mind, and environment are an intertwined ecosystem. Moore’s projects use visual vocabulary derived from memories of her childhood. She mines her personal history because sharing emotions and coping strategies through the transformative process of making art is important in a culture that prefers emotions be masked or tucked away.
When we are reckless?
When we are reckless? is a solo performance piece set in the window gallery that draws from personal experiences, incorporating text and visceral movement to explore the question of being reckless. Why crossing the line, hanging on the edge or indulging in moments that expose us to potential threats that just happened to not go in a bad direction. In retelling real life experiences, through voice/sound, writings, and body the piece hopes to challenge the audience to reflect on their own past experiences and take a deeper look into why we consciously choose to push the limit of safe. Juxtaposing the dark with the light context, with the liquid and awkward movement style Moynahan is known for, it’s bound to be a mini journey of hindsight.
Occurring: 8-10:00pm Friday August 5th.
Jackie Moynahan has been creating/performing work since 2001. Her work has been presented in NYC theater spaces such as Dance New Amsterdam, Williamsburg Art neXus (WAX), Triskelion Arts, The Flea, and Dixon Place, as well as at The Yard (MA) and Highways Performance Space (CA). She has performed site-specific exhibitions at Pier 63, and a vacant firehouse. Jackie was an arts programmers/presenter and the Co-producer/resident artist of Studio AIR (B’klyn) for 8 years where she created and performed over 50 experimental solo works. She recently relocated to Seattle.
I am interested in the ways capitalism is integral to all aspects of everyday living and decision making, from food and shelter, to clothing and energy. Absurdity and humor are ways for addressing this creeping influence, even if such gestures are largely symbolic. In this performance, I am carving bars of soap into manifestations of capitalism, such as the floor plans of McMansions, fossil fuel drilling sites, off-season fruits and vegetables, etc. The medium of soap represents the idea of cleansing or the removal of excesses.
Occurring: In Private, Monday August 8th.
Ellen Mueller has exhibited nationally and internationally as an interdisciplinary artist exploring issues related to the environment, hyperactive news media and corporate management systems. She received her MFA in Studio Art from University of South Florida. Recent exhibitions include Americana at The Soap Factory in Minneapolis MN and Arrest Me at Punch Gallery in Seattle WA. Selected artist residencies include Ox-Bow, Ucross Foundation, Nes Artist Residency (Iceland), Virginia Center for Creative Art, Kimmel Harding Nelson Center for the Arts, Vermont Studio Center, Coast Time, Signal Culture (August 2016), Playa (September 2016), Bunker Projects (November 2016).
Faux pas is an always-on intervention to contaminate the oil of the personal information economy with a foreign body of de-monetized labour. The live performance openly submits my personal sphere of ‘life – my quantification, my autobiography and my social media persona – to be publicly curated, socially edited and playfully embodied by others to collectively transmit a faux performance of self. Faux pas breaks the dichotomy of transmitter-receiver and performer-audience by the dissolution of pre-defined dualities. My primary online identity is suppressed and possessed by an infinite array dissociated personalities, who dynamically re-define their roles to achieve a live state of my cohabitants. Each alter(ego) brings unique behaviours from specific locations around the world that depersonalize my self-image with disruptive manipulations of memory, feelings and awareness. These distinctive individuals alternately control my online behaviour across multiple time zones and collectively co-create a live Jet lagged performance.
Occurring: 8-9:00pm Sunday August 7th. Continuing in exhibition August 11th-26th.
Lee Nutbean is a postinternet artist working at the transdisciplinary intersections of art and computation, across academia, research and the creative industries. His work explores the evolution of smart networked technologies through the participatory design of provocative prototypes, that elicit, process and respond to transparent data. These electronic ecologies culturally probe the dynamic networks within and between corporeal and viral spaces, to reveal new phenomena that confront, question and push new digital practices.
Eric John Olson
DDDC 1st Annual Potluck
The Dead Dad Dining Club (DDDC) 1st Annual Potluck is a community meal exploring fatherlessness through re-enactment and embodiment. Each dish shared in the potluck is based off a recipe provided by a member of the DDDC, a group of individuals that have come together over the shared experience of the death or absence of a dad. Each recipe represents either their father’s favorite meal or the most memorable meal they experienced with him. This project is a communion of memories honoring loss and a celebration of the bond tying these experiences together.
Occurring: 12-1:00pm Sunday August 7th. Continuing in exhibition August 11th-26th. Additional – Conversation:Future from 1-2:00pm Sunday August 7th
Eric John Olson is a serial collaborator focused on participatory art practices and social engagement. He has been awarded project grants by the City of Seattle, The Project Room, Seattle Public Library and 4Culture. His work has been written about in The Stranger, The Gothamist, Stereogum, Vice Magazine and The Creator’s Project. Whether performed, interactive or purely a state of potential, Olson’s work creates a holding space for a kind of radical therapy that unabashedly believes in the power of our collective imagination.
How to be a Proud Homosexual in an Era of Assimilation
In this one day seminar, Clyde Petersen will lead you through activities to embolden your inner homosexual.
By the end of the day, your wrist will be so limp you’ll think it’s broken. Your tongue will be swollen from licking the the sweat from your own brow. It’s hard work being a modern homosexual, but with Clyde Petersen’s one day class, you will gain the confidence you need to survive in this assimilationist world.
Occurring: In Private, Tuesday August 9th.
Clyde Petersen is a proud homosexual artist, working in the fields of visual art, animation, music and adventure. His television series Boating with Clyde features musicians performing on the local waterways. He travels the world creating many animated music videos, rock and roll records and large scale festivals and installations. He is a transgender activist, a lover of country music and a product of the 1990’s Northwest DIY scene. In October 2016, Clyde will premier his feature film Torrey Pines.
with Erin Johnson and Erica Reich
Hello and welcome 2 (2016)
Hello and welcome 2 is a performance, as part of an ongoing creative process/exploration. One of the many things influencing the direction of this process is the question “What is performance?”, with the potential for the explorer to lose oneself in the layers of awareness, understanding and purpose, a.k.a. to go insane trying to answer that question, or experience a blurring of the boundary between life and art. Other influences/interests are the infinity of choices (all correct) always at hand, creating endless combinations of events possible in any given moment, and the multitude of human personalities and moods, or characters and identities available for us to put on.
Occurring: 4-5:00pm Saturday August 6th.
Alisa Popova & friends began working together under Alisa’s direction around autumn of 2015, exploring performance, improvisation, not-improvisation, character distillation, and blurred art/life-truth/lie boundaries. Alisa got a BA with a major in dance at UW in 2010. Then she completed a massage therapy program because money (but also because anatomy nerd). Then she did a yoga teacher training. (OM, motherfuckers.) Now she’s finally doing what she never stopped wanting to do all this time – maek performens! Follow Alisa’s creative process at artneverstops.weebly.com, where she uploads videos, pictures, and words relating to her work and her influences.
A Collective Meditation on Totality
A Collective Meditation on Totality will be a durational performance by Collin Richard that will explore the destabilization of the gallery as a protected space of hierarchic visual culture, while also deconstructing the ideological separation of “nature” and “culture” to exhibit the totality of experience. To start the performance, the gallery space will be filled with a pungent collection of decomposing and composted food material. Throughout the day, the gallery will be gradually cleaned by Richard, the compost will be removed from the space, and the walls and floor will be washed to a returned state of institutionalized cleanliness. The audience will be welcome to participate in the performance in any capacity, but all acts and interactions will be strictly self-referential and pertaining to the discursive and phenomenological nature of the compost as a foreign entity within the gallery.
Occurring: 12-5:00pm Saturday August 27th.
Collin Richard (United States, 1993) is a fine artist who graduated from the Savannah College of Art and Design in the spring of 2015 with a B.F.A. in painting and a minor in Art History. His work has been exhibited in group shows in Savannah, Georgia, Lacoste, France, the Crisp Ellert Art Museum in St. Augustine, Florida, and most recently at Spaceness in Seaview, WA. Collin is currently developing several new projects that explore the relationship between humans and the landscape. He lives and works in Portland, Oregon.
Victory Is Sweet
Victory Is Sweet is an interactive piece in which people are invited to play some well known board games. The twist? All the game pieces are made of sweets which are to be eaten as you play.
The charm of food comes from the hands that make it. There is a warmth and life that is in food that was made by hand rather than in mass production. When sweets are made in factories, there is a sterile aspect to them, both literally and metaphorically; they’ve lost the love. Pre-made sweets can be shared, but it is done by splitting them up, (that one is your, that one is mine) and eating something that another person touched is a whole other level of intimacy. As a child in Syria, it was not uncommon during family meals to all sit around the table and eat food directly from the same bowl. Finger food was always shared. The bowl was placed in the middle, and everyone around it was on an equal level. Eating from the same surface, from the same bowl, connects everyone, it brings you to understand that you are taking in a piece of the person in front of you, and they are doing the same. Victory Is Sweet was born from this.
Occurring: 11:30am-12:30pm Saturday August 6th.
LaraAnn Sabih is best described as a food-lover, artist, and lunge-enthusiast. She is an emerging multi disciplinary artist based in Seattle who focuses on sculpture and performance work centered on the themes surrounding food and meal practices. As an artist, her background of living in the middle east informs her projects, and allows her to explore the culture and history of food on a more intimate level while always having a touch of playfulness present.
BODY 1 /AN ABSTRACTED CONCEPT OF ORIGIN
An interdisciplinary performance installation
delivered in semi ritual format
converting audience into witnesses of an event view
featuring word,sound,and movement
Occurring: 8-8:30pm Saturday August 6th.
Mappae Mundi//Mutatis Mundi
Taking inspiration from medieval Mappae Mundi, Beth Savage will present a series of performances exploring human impact on the planet. Translating literally as “cloth of the world”, Mappae Mundi represent both time and space, mapping not only the known, inhabitable world but the creatures, myths, peoples and histories of the time. Through a bodily interaction with the map, Savage will create temporary worlds which evoke notions of risk and hope in the face of our changing climate.
Occurring: 6:30-7:30pm Friday August 5th, 7-8:00pm Saturday August 6th, and 2:30-3:30pm Sunday August 7th. Continuing in exhibition through August 26th. Conversation:Risk from 1-2:00pm Saturday August 6th
Beth Savage is a British artist working with performance and installation. Her work examines social ecologies and human/nature relationships. She has undertaken major residencies with Camperdown Wildlife Centre in Dundee and the Nottinghamshire Wildlife Trust at Attenborough Nature Reserve. Savage has exhibited widely across the UK and internationally. She is the founder of performingNOW! an open platform for performance and a member of the Wild Project, a group of artists responding to ideas of wildness. She is supported by the SPARK postgraduate award and Arts Council England.
Black Girl Magic: A Ritual
Walking a group of people of color through a performance ritual that involves the written word, acknowledgement of our inherent ability to push ourselves forward, and linking our existence through a common space in time is powerful. This is for the Black Girls who need to recall there magic or just be in a space that holds them with ease and grace.
Occurring: In Private, Wednesday August 10th.
Imani Sims is a spicy Chai tea loving Seattle native who spun her first performance poem at the age of fourteen. She believes in the inherent magic within women and the natural way we manifest our own healing through performance art. She is a 2016 CityArtist Grant recipient, Central District Forum for Arts and Ideas curator, and Gay City Arts Fellow where she brought Afrofuturism and Performance Art together for eight shows. Her book (A)live Heart is forthcoming on Sibling Rivalry Press this Fall.
Damnatio ad Bestias
Damnatio ad Bestias (Latin for “damnation to beasts”) was a form of Roman capital punishment in which the condemned person was killed by wild animals. This performance explores the idea of impulses and impulsive behavior. It includes themes of mercy, self-destruction, addiction, redemption, shame, psychology, religion, ritual and lust. I wanted to convey a character who was like a gladiator entering an arena to confront a beast only to realize he was both the lion and the gladiator. The beast eating him was part of himself and by choosing to attempt vanquishing it he would be destroying part of himself. This piece is meant to show the tender struggle that exists in this relationship between the warrior and his beast.
Occurring: In Private, Wednesday August 24th.
Matthew Smith is a multimedia artist focusing in performance, video, fibers, and costume design. His work often includes themes of psychology, anxiety, identity, ritual and transcendence. Much of his work uses irony, humor, and a sense of playfulness to describe complex relationships between two or more themes existing at once. He lives and works in Pittsburgh, PA. ‘superHUMAN’ is a collection of performances and videos that explore ideas of loss, love, grief, birth, death, acceptance, and transcendence (2010-present). This series is meant to address how human emotions may feel unique to one’s own experience and universal to human consciousness simultaneously. The project started as a means to process difficult personal experiences in the artist’s life while also giving him the opportunity to connect with others through the universal themes behind the work.
Stinktown Two (Scott Kolbo and Lance Sinnema)
Escalation: Election Year Battle
Escalation, performed by Scott Kolbo and Lance Sinnema is a collaborative performance/project inspired by the increasingly volatile language that surrounds our current political discourse. The artists will explore of the tensions produced by our current situation – living in a state of constant surveillance mixed with a sense of on-line anonymity. For this performance the artists will monitor social media forums where political argument takes place and catalog the phrases and words that appear regularly. This anonymous language will then be transferred onto foam letterpress clubs and boxing gloves and used as a means to impress this aggressive political speech onto human bodies. When a word that is on one of the weapons appears on the one of the current presidential candidate’s social media streams the appropriate combatant will be allowed to use it on the body of the other. This will encourage the audience to participate by discovering words (or perhaps tweeting words themselves to activate the performance).
Occurring: 9-10:00pm Sunday August 7th.
The Stinktown 2 Collective springs forth from the collaborative efforts of Scott Kolbo and Lance Sinnema who are both interested in the use of humor in serious art, as well as exploring the way that the use of violent and debased language has escalated in our current political culture. Sinnema hails from Spokane, while Kolbo can be found in Seattle. The cross state nature of the collaboration has helped provide even more insight in varying political opinions and the difficulty in having open and meaningful discourse about politics that have become more and more polarized.
is a live event that will take place on 17 August 2016 in Scotland. The concepts of presence and absence are firmly part of my art practice and are potent sources of inspiration. I want to explore them further in this performance.
Q: What will happen?
A: I will create a circle by walking on the sand. The performance will take place on a beach in St Andrews, Scotland lasting 1 min 34 sec. Then, it will take place again in the woods where someone has created a circle on the ground. A place is very mystical but the creator of that circle is absent…
In this performance walking is drawing or mark-making enabling me to create a temporary circle in the sand that tells of my presence. And, in the woods, I replicate the presence of the creator of the circle.
Key words / key elements:
circle of life // cyclical form
hypnotic // grounding
Each element has a special meaning to me.
I dedicate this performance to Morgan Cahn, my colleague and friend, a mother-to-be, who is now absent from Scotland but still ever so present in my circle of life.
Occurring: In Private, Wednesday August 17th.
Lada Wilson is Croatian born Dutch artist, curator and educator who calls Scotland her home.
Wilson studied Art History and Fine Art. In 2014 she gained a master’s degree – MFA Art, Society & Publics at the University of Dundee, Scotland, UK.
Wilson exhibited nationally and internationally and undertook a number of art residencies. Her projects are often text and language based, performative, collaborative, and socially engaging.
Currently Wilson is artist-in-residence at Duncan of Jordanstone College of Art & Design in Dundee, UK and Contemporary Art Practices lecturer at University of Highlands and Islands, UK.
My art practice is permeated by language and words — it takes into account aspects of culture, language and audience and their interweaving and explores not only the meaning of words but also their spatial connotations by reworking them as sculptures, performances, artist’s books and exhibitions. I am strongly influenced by the spaces in which my exhibitions take place. The reconfiguration of space, often not a typical white cube, is as much my work as the artwork placed in it.
By merging the roles of artist, curator and collector, I create carefully staged installations. I seek social engagement through collaborations and critical dialogue.
Yuck ‘n Yum
It started in Dundee, Scotland… the idea was simple: a karaoke night where all the karaoke videos are made by you! Yuck ’n Yum decided to ask the audience to sing at a Karaoke event AND also asked them to produce the Karaoke videos. With top prizes and an open submission we attracted a wealth of talented video makers.
Past winning videos include Racheal Maclean’s candy coloured sextoy take on Lady Ga Ga’s “Paparazzi”. Joe Howe and Lachlann Rattray won with a clip art filled take on the Paul Simon video “You Can Call Me Al!”. Jeppe Rohde Nielsen, Edward Humphrey and Sophie Morris won with a nightmarish lounge singer rendition of “Quando Quando Quando”. Lewis Den Hertog won with a brilliantly dark take on Leonard Cohen’s “The Future”.
All the AGK videos are amazing …don’t believe us? – come along to the mobile-AGK to sing along to our classics!
Occurring: 8:30-10:30pm Saturday August 6th.
Yuck ’n Yum are a Scottish collective that put on events, make zines, and other stuff too.