It’s that time again. Each fall, Portland wakes up from its bucolic, sun-soaked summer reprieve just in time for Portland Institute for Contemporary Art’s (PICA) annual Time Based Art festival, or T:BA. The only thing that can compel Oregonians to put away their tents, hiking boots, and kayaks each September is the promise of a healthy dose of culture served by PICA’s Artistic Director, Angela Mattox, along with visual and performing arts curators, Kristan Kennedy and Erin Boberg Doughton.
Now in its 11th year, T:BA:13 has become a mainstay of the regional arts calendar, bringing a litany of international artists to Portland to present performances and exhibitions, as well as a robust program of workshops, talks, and late-night happenings. The festival is purported to seek out interdisciplinary art practices, supporting artists who challenge the notion of performance by transcending dan ce, music, theater, visual art, and new media to interrogate how the genre can engage contemporary audiences. For Portlanders however, T:BA brings a much needed glimpse of the outside world in. Marooned in the Pacific Northwest, the city tends to be a world unto itself, where imagination abounds but criticality is often in short supply. Presenting projects from Morocco, Algeria, Sweden, Argentina, Chile and beyond, T:BA transforms Portland into a thriving mecca for international culture… At least one week per year.
Presented in this post and in a follow-up next week is my T:BA rundown of select performances and installations in this year’s compelling, (pleasantly overwhelming), lineup. One of the annual highlights of the festival is late-night programming at The Works. Organized in the spirit of the contemporary experience-driven cultural economy, The Works presents spectacular events of mass-appeal including an opening night performance by Julie Ruin and a Drag Ball moderated by Portland’s own Kaj-Anne Pepper and Chanticleer Tru. Oh yes, and there’s definitely a bar—a few in fact, along with a nightly selection of snacks prepared by some of Portland’s most celebrated culinary superstars.
The Julie Ruin, (Kathleen Hanna, Kathi Wilcox, Kenny Mellman, Carmine Covelli, and Sara Landeau) at The Works, 9/12/13
The Julie Ruin opened T:BA:13 with a much-anticipated performance that left me nostalgic for my late-90s collegiate self in the best way possible. High-energy dancing, getting fired-up on feminism, and poising one’s self with some weeknight boozing were mandatory. Former Bikini Kill and Le Tigre frontwoman Kathleen Hanna is ever spectacular—even the hipper-than-though art crowd couldn’t help but shake-it. And Cathy Whim’s Hawaiian hot dog was the delictable cherry on top of the already kickass sundae. Wins all around.
Trajal Harrell, Judson Church is Ringing in Harlem (Made-to-Measure)/Twenty Looks or Paris is Burning at The Judson Church (M2M), 9/13/13
The question Trajal Harrell posed when creating this piece was: What would have happened in 1963 if one of the postmoderns went uptown to Harlem? The answer: a drawn-out, hypnotic chant of, “don’t stop the dance,” that progressed from a static aural performance to utter ecstatic dance chaos.
I’ll admit: the first half of the performance was uncomfortable to say the least. At one point, I was scanning the room for fire exits and contemplating the point that discomfort transitions to become legitimate torture. The second half however, was joyfully absurd. Sampling sound and gesture across decades — from 1960s glamour to 1990s hip hop, the piece became about the evolution of culture and its re-contextualization with every emerging age.
Meow Meow & Thomas M. Lauderdale (of Pink Martini), co-presented with the Oregon Symphony Orchestra, 9/14/13
Meow Meow is simply fantastic, “exquisite sack of a body,” and all. During the performance, she swilled wine, went through numerous on-stage costume changes, ordered around young men with the utmost commanding shrillness. As part of the grand finale, the incomparable diva crowd surfed across a sea of aging Oregon Symphony Orchestra season ticket holders.
Critical Mascara: A Post-Realness Drag Ball hosted by Kaj-Anne Pepper & Chanticleer Tru at The Works, 9/14/13
The only spectacle that could adequitely follow Meow Meow and Pink Martini is, of course, a drag ball.
Lola Arias, El Ano en que naci (The Year I was Born), 9/15/13
The Year I was Born was a poignant reflection on Pinochet-era in Chile that had me weeping in my theater seat like a complete wuss. The narrative was unpacked through memories and ephemera shared by 11 Chileans born between the mid-1970s to late-1980s during the Pinochet regime. Each cast member reflected on his/her parents, individuals representing every aspect of the social and political spectrum, many of whom fought each other during that contentious and bloody time. With youthful zeal, the Chileans mapped epic journeys across continents, read letters, told stories of love and regret, and put on the garments worn by loved ones. The performance was a heartbreaking reminder — punctuated by folksy musical interludes and poppy American Bandstand-esqe dance moves — of the many micro-narratives and everyday happenings that, cumulatively, add up to revolution.
Linda Austin & David Eckard with music composed by Doug Theriault, Three Trick Pony, 9/16/13
Linda Austin‘s choreography combined with David Eckard‘s sculptures make for disconcerting and vaguely perverse antics to ensue. After viewing Lola Arias’s performance the night before, Austin’s dance transported me right back to Portland: where stunningly-crafted objects set the stage for imagination, absurdity… And something curiously close to twerking.
Getting to Know You(Tube) presented by Crystal Baxley & Stefan Ransom at The Works, 9/16/13
Much to my disappointment, I missed this event, so I asked my friend and colleague Emily Henderson to reflect:
Crystal Baxley and Stefan Ransom’s project Getting to Know YouTube (GTKYT) invites people to make 15-minute presentations utilizing YouTube in any way with a Q&A after each presentation. The result ends up offering a unique perspective and commentary on YouTube videos if not the culture it generates. The program kicked off with Andrew Ritchey presenting a selection of various people doing covers of Taio Cruz’s Dynamite. It offered a funny and interesting glimpse into wanna be star culture and also people who just wanna share their obscure musical abilities. Dalas Verdugo introduced some rare gems in what I would call some of YouTube’s greatest hits in the lower views range. Jen Delos Reyes’ selection was the heartbeat of the evening sharing videos dealing with Buddhism, education and compassion, Sister Corita making an appearance in the lineup. Jamie Edwards closed out the program with a hilarious monologue of YouTuber comments read alongside alien videos. The comments alone were priceless in the battle between different commentators regarding the validity of alien videos. The evening ended with a small dance party mixed by GTKYT’s Baxley and Ransom alongside audience selected videos.
Laura Arrington & Jesse Hewit, ADULT, 9/17/13
After 45-minutes of wild dancing and beautifully sultry tabletop humping, Laura Arrington and Jesse Hewit served the audience cereal and Jack Daniels and proceeded to get freaky with duct tape, face paint, and glow sticks. This performance, billed as “acting out collective fantasies on death and dying,” did not exude the anxiety that the subject of morbidity and mortality generally inspires; rather, the choreographed frolicking expressed a rampant release of id, complete with allusions to masturbation and other physical discharges. Invoking gestures and sentiment of children through the bodies and desires of their fully-grown selves, the performers articulated a truth that has become increasingly clear as years pass: there’s no such thing as an adult.
As promised, more to come on T:BA:13 next week! To view the full line-up of T:BA:13 events, go to the T:BA calendar.
Thanks to Emily Henderson, Gia Goodrich and the PICA Press Corps, and Patrick Leonard.
There is a reason they made a show about this town; it’s so true it’s a cliché : Portland is a kind of paradise. From the Tiki bar at the airport to the food truck shanty town we hit at midnight where twenty-thirty somethings fulfilled all college cuisine fantasies (the center of the parking lot contained a small circus tent where diners could enjoy they paper plated fare), the farm to table restaurants, bookstores, record stores and basement galleries named after after major art institutions, it’s no wonder people live here. What’s amazing is that somehow people who live here manage to get to work at all. And yet, Portland with all it’s West Coast consciousness is a city with abundant social services.
So for all those reason, combined with the blend of experimentalism and casual earnestness, Portland seems like a perfect site for a social practice MFA. Perhaps even more perfect site for a conference about social practice. Which is why I am here. I am covering the 5th annual Open Engagement conference for our very own Bad at Sports.
The first Open Engagement was the result of Jen Delos Reyes‘ thesis project at the University of Regina back in 2007; Reyes wanted to create a “different kind of conference,” one platforming emerging and established artists while providing a site for both “production and reflection.” This is Open Engagement: a conference dedicated to socially engaged art practices. Delos Reyes came to Portland State to co-direct the MFA in Art and Social Practice once she had finished her MFA, and in 2010 Open Engagement came to Portland State. To this day, the conference is the result of collaboration between MFA students, Delos Reyes and OE Co-director, Crystal Baxley. In her opening remarks, Delos Reyes remarked on the sometimes “unkempt” nature of the conference, highlighting that it was focused on an artistic discipline that by its very nature is influx, and sometimes messy. That directive affords a kind of experimental quality which is perhaps missing from what she refered to as a more “rigid professionalism.”
The day went on from there — featuring a fantastic keynote from Michael Rakowitz given to a jam packed room. Rakowitz brought out a “spinning set list,” inviting select members of the audience to come up and spin the wheel and thereby determine which of his art projects he would discuss. Each “spinner” was then awarded a prize, from a small zip lock bag of Iraqi cardamom to a date seed the artist had previously eaten. I then attended a panel about harm and risk in social practice, and later a Portland Art Museum event “Shine Your Light,” complete with (among other things) a reenactment of a lost Grateful Dead concert. I’ll continue to post about things this weekend and am going to conduct a series of interviews while I’m here as well. All of which is to say, STAY TUNED. Follow the conference on twitter via #OE2013