Experimental

[siccer]

Will Rawls

Through a dance performance and accompanying video installation, Will Rawls invites us to consider the ways in which Black bodies are relentlessly documented, distorted, and circulated in the media.

Revival

Timothy White Eagle

Revival is an immersive ritualistic theater and installation work by the well-known Seattle-based Indigenous artist Timothy White Eagle and his team of collaborators, The Violet Triangle–Paul Budraitis, HATLO, and John Kendall Wilson. This new theater work is rooted in ritual theater and explores one of the oldest and most universal myths, the story of a hero being swallowed alive and then returned, which has appeared around the world. The artists use this ancient story to ponder what it means to be living in our contemporary moment through isolation and longing for community.

Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ

Elisa Harkins

Different histories, artistic/cultural educations, and experiences fuse together to create a new form of dance that you don’t want to miss!

RADIO III / ᎦᏬᏂᏍᎩ ᏦᎢ is an indigenous futuristic concert, a beautiful and uncomfortable dance performance and a perverse triangle of shifting power that seeks to be unfaithful to both minimalism and postmodern dance’s claims to so-called “neutrality”. In this work, we seek to live, layer and situate form in our bodies, as these evoke past, present and future possibilities.

Skeleton Flower

Degenerate Art Ensemble

Skeleton Flower is a performance of live music, visceral movement theater and dance, projected cinematic imagery and storytelling ritual. It is a semi-autobiographical exploration of Haruko Crow Nishimura’s (DAE’s director) struggle with identity, depression, childhood trauma, and the awakening of personal power. The piece deals with these issues with humor and imagination, casting her family as monsters from a Godzilla movie, and traces her personal struggle through three fairy tales which were read to her by her mother growing up (

CUTLASS SPRING

Dana Michel

Inching towards decensorship, engaging the infinite potential of everyday objects, CUTLASS SPRING is, at once, a manifesto and a heated reflection, an ethnography of sexual understanding and an archaeology of desire.

The Forever Project

Peggy Piacenza

Piacenza’s 30-year professional performance career and her history as a sex worker become an embodied tapestry of artistic material, a thematic entanglement of sex labor, the pursuit of freedom, and ageism.

The Other Shore: Always Now

zoe | juniper

Always Now is one of two complementary works within zoe | juniper’s performance, The Other Shore. In Always Now, the audience is guided through different spaces and positions to witness the performances, including lying comfortably on the floor, while multiple dancers move around and above them. With an exciting cast of 5 local and international dancers, Always Now explores perspective, lived experience, and body language as the audience is invited to experience the piece from very different viewpoints.

NOTHINGBEING

Takahiro Yamamoto

NOTHINGBEING is a project initiated by choreographer Takahiro Yamamoto, and developed in collaboration with Samita Sinha, David Thomson, and Anna Martine Whitehead. This work investigates ways to embody the presence of nothingness and "being," breathing spaces that we could easily dismiss and consider possibilities for the unfiltered self.

Awaiting Oblivion

Emmy Smith-Stewart | Jeffrey Azevedo

Blurring the lines between fiction and reality, Awaiting Oblivion... follows the story of AO, an anonymous street artist who has tasked Emmy and Jeffrey with the creation of a performance as a way to share AO’s “temporary solutions” for existing within our collapsing empire. Inspired by creative processes developed by the '60s Fluxus art movement, each “temporary solution” is a visual/textual poem contained in a Flux-kit (a cigar box collaged with stenciled imagery and typewritten letters).

M _ _ _ ER

Autumn Knight

Combining improvisation with sculpture, sound, and lights, M _ _ _ ER taps into the tangled relationships we have with familiar people and things to examine the shifting dynamics of intimacy between audience members' senses of self, others, and objects. The title suggests various interpretations of its missing letters; the performance itself addresses ideas such as “mother,” “murder,” and “matter,” while still leaving room for ambiguity. M _ _ _ ER is a nonlinear, scenic examination of entanglements, from mothers to matter.

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