- This event has passed.
February 9 8:00 pm - 9:30 pm
Plan a Visit
How I wished during those sleepless hours that I belonged to a different nation, or, better still, to none at all.
― W.G. Sebald, Vertigo
Stateless convenes eight percipient, creative voices to perform a durational, improvisational score that traces the boundaries and liminal spaces of place and identity, nation and self. In response to the ideas underpinning Sanctuary, Stateless is an aural and embodied interrogation of identity that attempts to map—through sound and body—its genesis, transference, and dissolution.
Stateless is co-curated by Marc Kate. Participating artists include Rachel Aiello, Larry/Laura Arrington, Robert Crouch, Jessie Hewit, Debby Kajiyama, Marc Kate, José Navarette, and Samantha Wienert.
Doors open at 7:30pm; performance starts promptly at 8pm.
ABOUT THE ARTISTS
Formally introduced to Buchla synthesis by Suzanne Ciani as her studio assistant, Rachel Aiello composes field recordings, abstract auditory textures, and rhythmic concrète churns into a hypnotic aural terrain reminiscent of the inceptive work from her seminal female forebears in experimental electronics
Larry/Laura Arrington is Bay-Area based artist/performance maker. Her work has been presented at PICA’s TBA Festival, Austin’s Fusebox Festival, and New York’s American Realness. She is a core member of Keith Hennessy’s Turbulence and regularly collaborates with her brother, Jesse Hewit. She has been an artist-in-residence at Headlands Center for the Arts, CounterPULSE, Kunst STOFF Arts, and ODC. She created and curates the SQUART performance series.
Robert Crouch is an artist and curator whose work encompasses sound, performance, and technology. As an artist, he locates his work with the intersection of post-phenomenological listening practices, conceptual sound art, and contemporary electronic music. At its core, his work can be understood as a conversation between tonality, context, history and subjectivities. His work has been released on Dragon’s Eye Recordings, Line, and Touch. Similarly, Crouch’s curatorial work focuses on the overlapping disciplines of sound, technology, movement, and performance. In 2014 he organized the North American premiere of Sphæræ, a large-scale inflatable performance space and public artwork by Dutch artist Cocky Eek. In 2017 he co-curated Juan Downey: Radiant Nature, a survey of early interactive and performance work of the late Chilean artist as part of the Getty initiative, Pacific Standard Time: LA/LA.
Jesse Hewit is a multi-disciplinary artist and curator, based in San Francisco. He has performed and taught around the United States and Europe, and currently serves various communities as Program Manager for ODC Theater, and Curator for Aggregate Space Gallery’s Friction/Function series. His 2017 original works include Faith Material at CounterPulse, TIDES TIDES TIDES at YBCA, and his recent and various dance and dramaturgical collaborations included working with Sara Shelton Mann, Fauxnique/Monique Jenkinson, Juanita MORE, the artists of Turbulence: a dance about the economy, Larry Arrington, and a published piece in Jamie Atherton’s anthology failed states – a journal of indeterminate geographies. He is currently working on his first book, Dad, a composition of essays, conversations, and un-nameables about time, intimacy, and how we remember things.
Debby Kajiyama was born in California’s central valley, grew up in the walnut and cherry orchards of her grandparents’ farm and also spent several years living in Tokyo. Her interests lie in the intersection of cultural studies, social justice and performance. She is inspired by influential teachers Jenny Bitner (writing), Jimi Nakagawa (taiko), and Anne Bluethenthal (social practice); the movement research of Kira Kirsch, Sara Shelton Mann and Nita Little; and the passion of Susanne Takehara and the cultural workers of Oakland’s EastSide Arts Alliance. Since 2001, Debby has created eight full-evening programs and numerous shorter works with NAKA Dance Theater, which she co-founded with José Navarrete. She has been an artist-in-residence at the Djerassi Resident Artists Program, an Irvine Fellow at Montalvo’s Lucas Artists Residency Program, and a recipient of an ACTA Apprenticeship to study Tsuzumi with Jimi Nakagawa. She is the recipient of the 2014 Della Davidson Prize.
Marc Kate applies cinematic and conceptual approaches to music and audio production. As a response to the tech culture assault on San Francisco (and the world), Kate takes up the tools of the trade — computers and synthesis — and slyly counter-attacks, asserting humanity precisely where humanity is being evacuated. He creates a counterpoint to tech’s speed and greed — slow, immersive, materialist, drifting. He has released tracks on Loöq, Failing Forms and Dragon’s Eye Recordings, composed for choreographers Monique Jenkinson and Keith Hennessy, contributed to the soundtrack of cult horror film All About Evil, produces the podcasts Why We Listen and Scary Thoughts: Horror, Philosophy, Culture with writer Chad Lott. He has composed music for the audio tour of the Clyfford Still room at the SFMOMA, performed at the De Young Museum and was featured in Yerba Buena Center for the Arts’ Bay Area Now 7 and was an artist in residence at Land and Sea in Oakland, CA.
José Navarrete is a native of México City. He studied dance at the National Institute of Fine Arts in México and has a B.A. in Anthropology from UC Berkeley and M.F.A in Dance from Mills College. He has studied dance with Sara Shelton Mann, Taiko with Hiroyuki Nakagawa and Argentine Tango with Nora Dinzelbacher. José is the recipient of a CHIME Mentorship with Jess Curtis, and a CHIME Across Borders fellowship with Ralph Lemon. He has taught dance and performance to youth and adults in Mexico, and in the San Francisco Bay Area at Berkeley High School, Marin Academy, Cal State East Bay, and Yerba Buena Center for the Arts. He has recently been named a U.S.-Japan Creative Artists Fellow and will be traveling to Tohoku, Japan in 2018. José currently directs NAKA Dance Theater and curates and produces the Live Arts in Resistance (LAIR) initiative at Eastside Arts Alliance, which provides residencies and performing opportunities for artists of color in East Oakland.
Samantha Weinert is interested both in live improvisational performance and exploring new ways to expressively and meaningfully interface with electronic instruments. She aims to deconstruct assumptions about how such instruments are played, and feels strongly that new paradigms of instrument design lead to new possibilities of expression and form in music. Her exploration of these ideas has led her to play a modular synthesizer through a breath controller and a multitouch keyboard, well-suited to both experimentation and subtle expression. She studied fine art, music, and philosophy at the University of Illinois (Urbana), and lives in West Oakland.