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PICA.ORG/TBA

SEPTEMBER 16–OCTOBER 3, 2021

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TIME BASED ART FESTIVAL

FESTIVAL

FESTIVAL FESTIVAL

PORTLAND INSTITUTE FOR CONTEMPORARY ART

TBA:21

September 16–October 3 pica.org/tba

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Please visit pica.org/tba for the full Festival schedule including times, dates, venues, and TBA:21 pass links. INSTITUTE INSTITUTE

FOR PASSES, ACCESS, AND INFORMATION:

CALL 503–224–PICA OR VISIT PICA.ORG/TBA

(top) Mia Imani, Good Mourning: Rituals For Displacement | Photo: Courtesy of the artist (bottom) Holland Andrews | Photo: Ariel Crocker

Welcome to the 19th edition of the TBA Festival As we write these words in Summer of 2021, artists and staff are buzzing with activity in preparation for TBA—working in every corner of the PICA building and in the new outdoor pavilion, in studios near and far, calling in from bedrooms, kitchen tables, cars, parks, and sidewalks. In 2020, countless conversations and collaborations were suddenly halted, forcibly paused, with no certainty as to if or when they might happen. Over months and years, they have been carefully tended, like embers, and now, they are being rekindled. Our early experiments in being together again are at turns tentative, discomforting, and joyful. Maybe being together has always been like this, and we are just perceiving things differently. Hopefully we have learned something about how to gather with more care for other human and other-than-human beings. How will it feel to gather eight weeks from the writing of this note, even in the face of certain inevitabilities (raging fires, persistent pandemics, enduring injustices)? We hope TBA will be a time and place to experiment with being together, in distant yet intimate proximities, in old but new ways, with curiosity, criticality, and care. The artists in this year's festival are creating work across forms and formats, of different shapes and scales, at varying points and places. They are making installations, conversations, performances, poems, and publications—some to be shared in a collective space and moment, others to be experienced on your own, in and over time. Several projects have a before- and after-life, their existences preceding and exceeding the festival, and will evolve in the weeks, months, and years to come. This catalog itself is a kind of a time capsule or instant snapshot of where they are now—emergent, in process, coming into view. How will we be with each other in the future? We can only answer that question as we move forward through time together. The artists in TBA invite us to be with them—and with each other—with complex ideas, emotions, and energy, with camaraderie, with questions, with critique, with refusal, with resistance, with resilience. We hope you can join us in whatever way you can, and keep imagining and building new futures. Thank you for being here in the ways that are possible.

Roya Amirsoleymani Artistic Director & Curator of Public Engagement

Erin Boberg Doughton Artistic Director & Curator of Performance

Kristan Kennedy Artistic Director & Curator of Visual Art

PICA acknowledges that we are guests on the traditional homelands of the Multnomah, Oregon City Tumwater, Walata, Wasco, Kathlamet, Cowlitz, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla, and many other Indigenous peoples both recorded and unrecorded. People from these lands were relocated to the Grand Ronde Reservation under the Kalapuya etc., 1855 ratified treaty (also known as the Willamette Valley Treaty) and are now part of the Confederated Tribes of the Grand Ronde. The Grand Ronde people maintain a connection to their ancestral homelands and continue their traditional cultural practices. We recognize these Indigenous communities in our region today, extend our deepest gratitude to those who have stewarded this land, and offer our respect to their elders past, present, and future.

LAND ACKNOWLEDGMENT

BOX OFFICE 15 NE Hancock St., Portland, OR 503-224-PICA (7422) BEFORE THE FESTIVAL The Box Office can be reached via email or phone: Tuesday to Friday, September 7–10 12:00–5:00 PM PDT Monday to Wednesday, September 13–15 12:00–5:00 PM PDT

DURING THE FESTIVAL September 16–October 3 The Box Office will be available each day of the festival via email or phone; Box Office staff will be available in person for the performances taking place at PICA one hour before each event.

SUPPORT PICA AND ARTISTS BY PURCHASING A PASS TO TBA:21! All TBA:21 passes are all access and pay what you can. Purchase your pass today at pica.org/tba. Pay What You Can $0 (limited quantity) Pay What You Can $25 Pay What You Can $50 Pay What You Can $100 Pay What You Can $200 (Covers the cost of an individual pass and

multiple passes at $0 for community access)

All passes include access to online and in-person Festival programming. Please note that reservations are required to guarantee seating for all in-person performances taking place at PICA and for a few select online events. Additionally, events by Knowledge of Wounds and Holland Andrews are “off pass” and must be purchased separately. Please see pica.org/tba for details or contact the TBA Box Office by email at boxoffice@pica.org or call 503-224-PICA.

FOR PASSES, ACCESS, AND INFORMATION:

CALL 503-224-PICA OR VISIT PICA.ORG/TBA

FOR PASS ACCESS, AND INFORMA

FESTIVAL Festival Introduction

The Javaad Alipoor Company

Holland Andrews

Heldáy de la Cruz

vanessa german

Anthony Hudson / Carla Rossi, Arias Hoyle, and

Steven Paul Judd Mia Imani

Garrick Imatani and Travis Stewart

Emily Johnson / Catalyst, Raven Chacon,

Drew Michael, Holly Mititquq Nordlum Raja Feather Kelly

Hannah Krafcik & Emily Jones

Knowledge of Wounds

Jennie MaryTai Liu & Simon Liu with Andrew Gilbert

No Face, No Case: Portraiture’s Breaking

jumatatu m. poe & Jermone Donte Beacham

rise x fall

(rubén garcía marrufo, jaleesa johnston, maximiliano) Eileen Isagon Skyers

The Who Cares Clock

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INSTITUTE Institute Introduction

Artist Talks/Workshop

Creative Exchange Lab Introduction

Crystal Cortez

mario lemafa

Sara Siestreem

Maya Vivas

Timothy White Eagle

INFORMATION FAQs

Supporters

Funders and Sponsors

PICA/TBA Staff

ABLE TABLE TABLE TABLE F OF OF OF ONTENTS CONTENTS CONTENTS CONTENT

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(left) venessa german, THE BLUE WALK | Photo: Courtesy of the artist (right) rise x fall, AT THE END OF EMPIRE | Photo: Courtesy of the artists

PICA’s annual Time-Based Art Festival is a convergence of contemporary art, international artists, global audiences, and local in-person gatherings. It is a time for us to come together in celebration of experimental works and ideas and to push the boundaries of what it means to make—and who can participate in—contemporary art. Since 1995 Portland Institute for Contemporary Art has been working on and against this edge, championing artists from around the world. This year you can enjoy the festival with pay-what-you-can pricing and our new single-pass structure. Please join us in person, online, in conversation, on your own time, and (sometimes) within a set schedule. Whether you are new to TBA or a longtime fan of the Festival, we are excited and grateful for the opportunity to share this year’s TBA with you. For the full TBA schedule, please visit pica.org/tba.

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The Javaad Alipoor Company (manchester, uk)

Rich Kids: A History of Shopping Malls in Tehran

ONLINE

Co-created by Javaad Alipoor and Kirsty Housley Captions available This performance begins right at a set time each night and is not available to watch on-demand at a later time. To ensure that you see the full program, please be on the streaming platform in advance of the start time. For scheduling information, including the set time of this program, please visit pica.org/tba.

(all) Film stills: Rich Kids

The gap between the rich and poor is getting bigger and bigger around the world. Social media feeds and accelerates this ever-widening divide. In the global South we see the children of elites and post-colonial dictatorships flashing cash, dollar signs, Bollinger champagne, and infinity pool holidays while the wider population suffers under sanctions and dictatorships. Rich Kids is a play about entitlement and consumption, and how digital technology is complicit in social apartheid and gentrification. It spotlights the human problem of what successful and brutal people do with their coddled and useless children. It is the sequel to the award-winning The Believers Are But Brothers and the second part of a trilogy of plays about how digital technology, resentment, and fracturing identity are changing the world.

This digital production was supported by Battersea Arts Centre, Norfolk & Norwich Festival, and Arts Council England.

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The Javaad Alipoor Company

The Jav Alipoor Compan

Holland Andrews (brooklyn, ny)

There You Are

ONLINE/PHONE

Written and performed by Holland Andrews Participants require access to a phone with text/SMS capabilities, and a way to access SoundCloud with amplified sound on a separate device.

Holland Andrews is a vocalist, composer, and performance artist whose work is based on emotionality in its many forms. Andrews focuses on the abstraction of operatic and extended-technique voice to build soundscapes encompassing both catharsis and dissonance. Frequently highlighting themes surrounding vulnerability and healing, Andrews arranges music for voice, clarinet, and electronics. Andrews also develops and performs 04 soundscapes for dance, theater, and film, and their work has toured internationally with artists such as Bill T. Jones, Dorothée Munyaneza, Will Rawls, and poet Demian DinéYazhi'. Notable musical collaborations include Son Lux, Christina Vantzou, Peter Broderick, and more. In addition to their live performance and composition work, Andrews teaches workshops surrounding vocal embodiment as a vessel for softening the resistance to living as our most compassionate and harmonious selves through visualization and emotional prompts. Andrews currently resides in Brooklyn, New York.

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Photo: Ariel Crocker

There You Are is a one-on-one, individualized musical performance piece by Holland Andrews which takes place via phone call and text message. There You Are centers around creating a personal connection within a performance without needing to be in the same space together, with the intention of conjuring expansion, presence, and self-realization. The performance begins with a text message interaction with Andrews where they guide you through emotional prompts to nurture your connection to the present moment and prepare you for the call portion. Andrews will then call you and sing to you over the phone while you're listening to a new original composition created exclusively for There You Are, and also created exclusively to provide room for you to experience freedom in your emotional world, however you choose to. You are always allowed to experience harmony within yourself. Let this be one of those opportunities.

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Holland Andrews

Holland Andrew

Heldáy de la Cruz (brooklyn, ny)

Dáyquiri: Little Poems

PUBLICATION

Dáyquiri: Little Poems is a collection of poetry that has been building on itself over the course of seven years. The artist began this project at age 23, and he is now 30. The collection is meant to be an exploration of the things that orbit you at different points in your twenties: the evolution of identity, the swinging in and out, and the life experiences that still happen amidst crises. Heldáy de la Cruz is an artist and community organizer. Through illustration and design, his work explores the identities that are lost and found within 06 the queer and Latinx diaspora. This, alongside his undocumented status, are at the very core of his community work. Heldáy's artwork and story has been shared in Milk X Magazine (Hong Kong), The Huffington Post, AIGA Portland, She Shreds Magazine, Ecotrust, Street Roots, East Oregonian, The Oregonian, ACLU of Oregon, Design Week Portland, Brand New Podcast, Social Justice League Podcast, Talking with Ghosts Podcast, Homebase Gallery, CultureStrike, and the Define American Film Festival. He also co-leads a collective called UndocuPDX that provides resources, education, and news for the undocumented community.

(top) Photo: Courtesy of the artist (bottom) Photo: Adolfo Cantú-Villarreal

This publication will be released on October 2, 2021, in both digital and print forms. Printed copies will be available for purchase directly from the artist.

Heldáy de la Cruz

Heldáy la Cruz

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vanessa german (pittsburgh, pa)

THE BLUE WALK

IN-PERSON

Curated by Wa Na Wari

THE BLUE WALK is a spectacle of LOVE. It activates RAGE, TENDERNESS, REST, RHYTHM and THE HOLINESS OF THE BLACK BODY ON THE LIVING PLANET as a healing channel of release and power. THE BLUE WALK is an activation of collective SOUL. it honors the simultaneity of TIME. it is a cleansing and a bringing up; it is a sob and a glory song. WE ARE THE POWER SOURCE.

Based in Homewood, Pittsburgh, vanessa german’s artistic practice is intertwined with and inextricable from her dedicated role in activism and community leadership. Upholding artmaking as an act of restorative justice, german confronts and begins to dismantle the emotional and spiritual weight imposed by the multi-generational oppression of African American communities. As a queer Black woman living in the United States, german has described this as a deeply necessary process of adventuring into the wild freedom that the inhabitation of such identities demands. This activist instinct emerges in german’s work to postulate powerful narratives of freedom and love. german has been awarded the 2015 Louis Comfort Tiffany Foundation 08 Grant, the 2017 Jacob Lawrence Award from the American Academy of Arts and Letters, the 2018 United States Artist Grant and, most recently, the 2018 Don Tyson Prize from Crystal Bridges Museum of American Art. german’s work has been exhibited widely, most recently at the Figge Art Museum, The Union for Contemporary Art, The Fralin Museum of Art at the University of Virginia, Flint Institute of Arts, Mattress Factory, Everson Museum of Art, Spelman College Museum of Fine Art, Wadsworth Atheneum Museum of Art, Studio Museum, Ringling Museum of Art and Crystal Bridges Museum of American Art.

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(all) Photos: Courtesy of the artist

Participants will walk in the power of the Blues. Moving in the power of Water, Creativity, and Dimensional Wholeness. The Ritual is the Goodbye Song and the Lifting Up Song. We learn this in a short period of togetherness pre-ritual. These songs are about listening, giving permission to the voice and the body, and taking up space and sky.

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vanessa german

Anthony Hudson / Carla Rossi, Arias Hoyle, and Steven Paul Judd (portland, or / juneau, ak / oklahoma city, ok)

Clown Down 2: Clown Out of Water (Sneak Peek)

ONLINE

Indigenous Residency Series

Anthony Hudson (Confederated Tribes of Grand Ronde) is developing a sequel to their recent solo Clown Down: Failed to Mount, called Clown Down 2: Clown Out of Water. While the original, multimedia-based solo showed Anthony’s drag clown character Carla Rossi tasked with performing an evening-length show while trapped under a fallen cabinet as a means of exploring depression and anxiety, this follow-up charts Carla as she finds herself trapped on a rock in the ocean while the water level rises due to melting ice caps, and is concerned with climate disaster and how to navigate an increasingly distressed planet. Arias Hoyle (Tlingit) is a solo hip-hop recording artist from Juneau. His stage name is Air Jazz, and he endeavors to bring his ancestry into the public eye. Hoyle will soon release his EP “¢hillout ¢hilkat” and a subsequent 12-track album, “My La$t ¢han¢e ¢hilkat.” 10 Steven Paul Judd (Kiowa-Choctaw) will focus on a multi-disciplinary exploration of traditional Native dances, both ceremonial and social, such as the Gourd Dance, Fancy Dance, and Hoop Dance, among others. Steven is creating a series of large paintings that capture the steps of Native dancers in motion, making visible on canvas both the movement of the dancers and the rhythm of the accompanying songs and music. The painting process (making of) will be filmed and supplemented with post-painting, on-camera interviews with the dancers in their regalia explaining the history and significance of each of the dances.

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Photo: Bryan Clavel

Premiering in 2022, Clown Down 2: Clown Out of Water finds Portland's premier drag clown, Carla Rossi, trapped on a rock in the ocean while the water level rises due to melting ice caps. Alone with a seagull afflicted with IBS, Carla encounters possum pirates, shark TERFs, and the world's last surviving polar bear in this multimedia drag farce that utilizes puppetry, interactive video, and sculpture by David Eckard, and is all about climate disaster and the terror of living on an increasingly distressed planet. Clown Down 2 is being developed by Hudson as a part of the Indigenous Residency Series (IRS), a multi-year program with three artists— Anthony Hudson, Arias Hoyle, and Steven Paul Judd—working with host organizations PICA, Bunnell Street Arts Center, and NM Bodecker Foundation, respectively. During the TBA Festival each artist will share a brief video of their workin-progress, Clown Down 2 among them, and host a Zoom discussion between the artists, available to view on PICA’s online platform. IRS is managed and supported by the Western Arts Alliance’s Advancing Indigenous Performance (AIP) program, led by Ed Bourgeois, with support from the National Performance Network (NPN), James F. and Marion L. Miller Foundation, and Regional Arts & Culture Council (RACC).

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Anthony Anthony Hudson/ Hudson / Carla Carla Rossi,Rossi Arias Hoyle, and Steven Paul Judd

Anthony Anthony Hudson Hudson//Carla Carla Rossi Rossi, Arias Hoyle, and Steven Paul Judd

Anthony Anthony Hudson/ Hudson / Carla Carla Rossi,Ross Arias Hoyle, and Steven Paul Judd

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Anthon Anthon Hudson Hudson Carla Rossi,RA Hoyle, Steven Judd 11

Mia Imani (berlin, germany)

Good Mourning: Rituals For Displacement

IN-PERSON

Curated by Wa Na Wari The audience will move with the performance to three different locations that are accessible to those with mobility devices.

Mia Imani is an international interdisciplinary artivist (art + activist) and arts writer based in Berlin, Germany. She creates and curates liminal spaces that invite Black and Brown communities to heal individual and communal trauma through conscious (day-dreaming, visualization) and subconscious (lucid, REM sleep) dreaming. These works aim to center the agency of marginalized communities and use dreams as a portal to manifest alternative past(s), present(s), and future(s). She received her B.A. in media communications studies from the University of Washington and is completing her master’s in North American Culture and Literature Studies at Freie Universität in Berlin, Germany.

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Photo: Courtesy of the artist

Mia Imani interrogates the ways that disenfranchised communities can heal individual, communal, and societal trauma by creating works that live in between the worlds of art and science. This “third-way” mixes unconventional methods (dreams, rituals) and science (ethnography, geography, psychoanalysis) to dream new potential ways of being. She activates this through experimental interviews, reportage, continued conversations, and the like. She strives to create generative pieces that allow the works of the artist to have a second breath outside of the confinements of an exhibition. Her creative and collaborative work has lived in the Northwest Film Forum, Seattle Art Museum Lab, Savvy Contemporary, and is expanding into the digital and other interdisciplinary spaces. Her written work lives both digitally and in print within publications Cultured Magazine, Contemporary And, Daddy Magazine, Frieze, Hyperallergic, Vice, and more.

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Mia Imani

Garrick Imatani and Travis Stewart (portland, or / grand ronde, or)

ONLINE/IN-PERSON

The Drift

PICA’s main warehouse space is on the ground floor and is accessible to those with mobility aids. ADA-accessible, gender-neutral restrooms and a water cooler are located inside of PICA. If you have questions about accessibility you can contact us at boxoffice@pica.org or call 503-224-PICA.

Garrick Imatani is an artist who uses performance, functional objects, or interaction to bring people into their own body and subject. Working across sculpture, photography, video, and installation, Garrick's recent projects focus on reimagining racialized historical erasures into more believable and inspired futures. Past works have included collaborating with illegally-surveilled activists to readjust city archives, re-enacting labor on the transcontinental railroad, and working with members of Grand Ronde Tribes to replicate their sacred meteorite held at the American Museum of Natural History. Travis Stewart is a contemporary Northwest artist of Chinook, Rogue River, and Kalapuya descent. He lives in Grand Ronde, Oregon, and works in a variety of mediums to depict stories defined by the cultural landscape and 14 design of the Willamette Valley and Columbia River people. He also works as a curator at Chachalu Museum and Cultural Center (Grand Ronde, OR) and has devoted his life to the preservation of the art and culture of the tribes of Western Oregon. Travis is a founding member of the Shawash IliᎮWi Kanim Tilixam, which is a nonprofit cultural preservation group and canoe family that works to impart traditional teachings to at-risk tribal youth through song, dance, language, and art.

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(top) Film still: The Drift (bottom) Photo: Nolan Calisch

The Drift is a visual archive of the future, where the politics and excuses for failed Indigenous repatriation are bypassed through an inexplicable force that returns all that is lost and stolen. Echoing the circular path from extraction to healing, The Drift presents the culmination of a multi-year project undertaken by Garrick Imatani with Travis Stewart and the Confederated Tribes of Grand Ronde. Combining virtual reality, a publication and screening, digital fabrication, and photography, this installation takes form as a map, countdown, and inner eye to a scene within and beyond human control.

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Garrick Imatani and Travis Stewart

Garrick and Tra Stewar

Emily Johnson / Catalyst Raven Chacon Drew Michael Holly Mititquq Nordlum

(mannahatta, lenapehoking / land with ties to the tiwa, tewa, keresan, tanoan, anasazi, diné, apache and genízaro / lands of the multnomah, wasco, kathlamet, cowlitz, clackamas, bands of chinook, tualatin kalapuya , molalla / dena'ina land)

Invitation To Being A Future Being

IN-PERSON

“ I view our bodies as everything: our bodies are culture, history, present, and future, all at once. Out of respect for, and trust in, our bodies and collective memories, I give equal weight to story and image, to movement and stillness, to what I imagine and what I do not know.” – Emily Johnson / Catalyst

Emily Johnson is an artist who makes body-based work. She is a land and water protector and an organizer for justice, sovereignty, and well-being. A Bessie Award-winning choreographer, Guggenheim Fellow, and recipient of the Doris Duke Artist Award, she is based in Lenapehoking/New York City. Emily is of the Yup’ik Nation, and since 1998 has created work that considers the experience of sensing and seeing performance. Her dances function as portals and care processions; they engage audienceship within and through space, time, and environment, interacting with a place's architecture, peoples, history, and role in building futures. Emily is trying 16 to make a world where performance is part of life—where performance is an integral connection to each other, our environment, our stories, and our past, present, and future. Emily hosts monthly ceremonial fires on Mannahatta in partnership with Abrons Arts Center and Karyn Recollet. She was a co-compiler of the document Creating New Futures: Guidelines for Ethics and Equity in the Performing Arts and is part of an advisory group, with Reuben Roqueñi, Ed Bourgeois, Lori Pourier, Ronee Penoi, and Vallejo Gantner, developing a First Nations Performing Arts Network.

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Photo: Scott Lynch

Celebrated for a distinguished body of dance works, Emily Johnson unites audiences in a shared experience of movement, place, history, collective action, and the continuance of Indigenous cultural practices and perspectives. As part of a creative residency at PICA, Johnson gathers an extraordinary group of collaborating artists to create an in-process activation and installation as part of her newest work in development, Being Future Being. Johnson, along with composer Raven Chacon, visual and tattoo artist Holly Mititquq Nordlum, and artist and mask maker Drew Michael, delves into the power of creation to build a visual, aural, and ancestral landscape of Indigenous power. By (re)building new visions of the forces that brought this world into being, Being Future Being brings forth new futures with the potential to reshape the way we relate to ourselves, and to the human and more-than-human cohabitants of our world.

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Emily Johnson / Catalyst Raven Chacon Drew Michael Holly Mititquq Nordlum

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Emily Johnson / Catalyst Raven Chacon Drew Michael Holly Mititquq Nordlum

Emily Jo Catalys Raven C Drew M Holly M Nordlum

Emily Johnson / Catalyst Raven Chacon Drew Michael Holly Mititquq Nordlum

Being Future Being is commissioned by The Broad Stage at Santa Monica College and is a National Performance Network (NPN) Creation Fund Project supported by Bunnell Street Arts Center (AK), New York Live Arts (NY), Portland Institute for Contemporary Art (OR), and NPN, with contributions from the Doris Duke Charitable Foundation, Ford Foundation, Oregon Arts Commission, The Western States Arts Federation (WESTAF), and the National Endowment for the Arts. Additional commissioning and development support is provided by Abrons Arts Center, Portland Ovations, Jacob’s Pillow’s Pillow Lab residency, a Movement Research residency funded by the Scherman Foundation’s Katharine S. and Axel G. Rosin Fund, and New York Live Arts’ Live Feed Residency with funding from Rockefeller Brothers Fund, National Endowment for the Arts, New York City Department of Cultural Affairs, Stavros Niarchos Foundation, and the Partners for New Performance. The creation of Being Future Being is made possible in part with support from New England Foundation for the Arts' National Dance Project, with lead funding from the Doris Duke Charitable Foundation, and The Andrew W. Mellon Foundation.

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Raja Feather Kelly (new york, ny)

Raja Feather Kelly’s HYSTERIA

ONLINE

Captioning will be available.

In Raja Feather Kelly’s HYSTERIA, Kelly continues his study of pop culture and its displacement of queer Black subjectivity. Picking up where his 2018 performance UGLY left off, Kelly re-situates himself as a glamorous, extraterrestrial entity— both alien to the world and wholly consuming its pop cultural byproducts. HYSTERIA marks the collapse of fiction into fact, tracking the subsequent inner turmoil, confusion, and mania that Kelly sets out to exorcise. HYSTERIA is choreographed, directed and performed by Raja Feather Kelly, with video by Laura Snow with Kelly, photography by Kate Enman, sound by Kelly and Remy Kurs, and cinematography by Laura Snow with CJ Ferroni. Set and prop design is by Kelly with Enman and lighting design is by Tuce Yusak.

R K (all) Photos: Kate Enman

Commissioned by New York Live Arts

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Raja Feather Kelly

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Raja Fea Kelly

Hannah Krafcik & Emily Jones (portland, or)

apogee

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This performance features loud sound and multiple video projections including footage that is shaky and quickened with fast cuts and flashing visuals; it may not be safe for those who experience seizures, motion sickness, or dizziness. ACCESS FOR LIVE PERFORMANCES: All performances will include captions for pre-recorded sound. ASL will be provided for at least one performance. Additional access details are forthcoming. ACCESS FOR VIRTUAL PERFORMANCE: A video version of this performance will include captions and audio description.

this system is a living-ghost that knows what is dead in life what is alive in detritus rejecting, absorbing repercussions of the fake-real and layers of data to sense through touching truths that don’t abide by logic awake in dreams and online when all else is disrupted What does it mean to have a critically engaged nervous system? What intuitive and predictive technologies do bodyminds hold, and how do they help realize personal truths (what we don’t yet know we know)? This offering is a sci-fiinspired multi-sensory stim, a personal reflection on the ways our sensitive systems intertwine with surroundings—how they collapse time, reorganize, spin out, and regulate. It brings together video, sound, text, and movement elements, which we have gathered and arranged again and again throughout the pandemic.

Hannah Krafcik and Emily Jones make performances and facilitate movement practices together. They are white settlers residing on the unceded lands of the Cowlitz, Confederated Tribes of Grand Ronde, 20 Clackamas, and many other Tribes, also known today as Portland, OR. Hannah (they/them) is a neurodivergent dancer and writer. Emily (she/they) is a dancer, movement educator, and bodyworker. The artists’ long-standing collaboration is driven by considering how power dynamics impact their bodyminds and behaviors. This performance was made possible through the Alembic Artist Residency at Performance Works NW and with support from the Portland Institute for Contemporary Art.

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(all) Photos: Courtesy of the artists

Apogee is climax at a distance.

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Hannah Krafcik & Emily Jones

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Hannah & Emily

Knowledge of Wounds (global)

S/Kin

ONLINE

PARTNER PROGRAM Co-Curated by S.J Norman and Joseph M. Pierce Knowledge of Wounds (K.o.W.) is a global convergence in partnership with six organizations: Performance Space New York (NY), Portland Institute for Contemporary Art (PDX), the Momentary (AR), Ballroom Marfa (TX), Performance Space Sydney (NSW, Australia), and Blakdance (Australia). www.knowledgeofwounds.com All events will be streamed with captioning. Within one week after each live event Auslan, ASL, and voice descriptions will be available for on-demand viewing in our archive. Upon request events will be live interpreted. For any questions regarding accessibility contact: info@knowledgeofwounds.com.

Knowledge of Wounds is an independent, Indigenous-led gathering space that is co-curated by artist and writer S.J Norman (Koori, Wiradjuri descent) and writer and scholar Joseph M. Pierce (citizen of Cherokee Nation). We work with a core team of Indigenous collaborators, including our producer Carlee Smith and web designer Chloe Alexandra Thompson (Cree). We acknowledge the ongoing collaboration, consultation, and support of Merindah Donnelly and Blakdance, Emily Johnson, First Nations Performing Arts Network, and our partner organizations, Elders, and communities.

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Photo: Blair LeBlanc

Our skin is a sacred threshold. The ritual breaching of the skin is a ceremonial technology utilized by many peoples in the transference of ancestral knowledge. Through a codex of scars and markings made on the body’s supple container, we make visible our kinship ties and initiatory pathways. For the Knowledge of Wounds Praxis Session, we engage the body first, in relation, in care. Each praxis session is a 45-minute engagement led by an Indigenous body-based artist/ practitioner that will be streamed online and archived on the Knowledge of Wounds website. We center ourselves in our traditions and histories by paying attention to the body as it moves, senses, and relates to the world.

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Knowledge of Wounds

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Knowle Wounds

Jennie MaryTai Liu & Simon Liu with Andrew Gilbert (new york, hong kong, los angeles)

Conviction

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Directed by Jennie MaryTai Liu & Simon Liu with sound by Andrew Gilbert WORLD PREMIERE: Conviction WORLD PREMIERE: force and Sistern (16mm, HD & AE Animation) (expanded versions) force (16mm & AE Animation) premiered at the New York Film Festival 2020 Please note, there will be some flashing and quick shifts in light and color in these videos that may affect those who are sensitive to light. PICA’s main warehouse space is on the ground floor and is accessible to those with mobility aids. ADA-accessible, gender-neutral restrooms and a water cooler are located inside of PICA. If you have questions about accessibility you can contact us at boxoffice@pica.org or call 503-224-PICA.

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(all) Photos: Courtesy of the artists

A tightly choreographed machine regulates the terrain of how breath and movement may flow, promising order, accountability, and green space. Words fall over a city, making control concrete. An adolescent shield absorbs, distorts, purges in the night, becomes a reservoir for a death dance. Between layers of oppressive weather, fantasy screens fears and futures, suffocating/sad, noncompliant, wielding/wearing symbols/cymbals, washed in rain. Made by Hong Kong-raised sister/brother artists Jennie MaryTai Liu and Simon Liu with sound by Portand-raised artist Andrew Gilbert, this video installation contains two films, force (16mm & AE Animation) and Sistern (HD & AE Animation), shot in Hong Kong in 2019 and 2021 respectively.

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Jennie MaryTai Liu & Simon Liu with Andrew Gilbert

Jennie M Liu & S with An Gilbert

No Face, No Case: Portraiture’s Breaking (cooley gallery, reed college)

Laura Aguilar, Nayland Blake, Georganne Deen, Omer Fast, Ann Hamilton, Jim Hodges, Y.Z. Kami, Mariko Mori, Yasumasa Morimura, Catherine Opie, Andres Serrano, Gary Simmons, and Nari Ward

IN-PERSON

visiting protocols will be listed on the cooley website on september 5, 2021

Organized by the No Face, No Case Collective, a course of Reed College students and faculty, and Cooley Gallery director Stephanie Snyder. The exhibition and TBA program listing will be posted on the Cooley website by September 5. The Cooley Gallery is easily accessible from the Reed library lobby. Both the Cooley and the library possess all ADA accessibility accommodations.

How do we relate to images of the self when the self is in a state of breakdown? This question is one of the concerns at the heart of the Cooley Gallery exhibition No Face, No Case: Portraiture’s Breaking. Composed of painting, photography, sculpture, and video, the project considers portraiture’s unstable, shifting status in the wake of the genre’s collapse as a site of power, capital, and representation. Made by a group of visionary artists from 1990–2005, the portraits in No Face, No Case incite a reconsideration and defamiliarization of the legibility and limits of the self. The exhibition also speaks to the current stream of digital “portraits” collected by police and the government for the purposes of surveilling and capturing individuals through the image of the face. No Face, No Case includes work by Laura Aguilar, Nayland Blake, Georganne Deen, Omer Fast, Ann Hamilton, Jim Hodges, Y.Z. Kami, Mariko Mori, Yasumasa Morimura, Catherine Opie, Andres Serrano, Gary Simmons, and Nari Ward. The works in the exhibition were donated to the Reed College Art Collection by the Peter Norton Collection. The Douglas F. Cooley Memorial Art Gallery is Reed College’s intimate, academic museum, nestled in the Reed library. The Cooley's mission is to enrich the academic life of the college by organizing a diverse range of scholarly exhibitions, accompanied by publications and public programs. The gallery was established by a generous 1988 gift from Sue and Edward Cooley and John and Betty Gray, in honor of Douglas F. Cooley, who died tragically at a young age. The Cooley performs its work "in support of the teaching of art history at Reed College—part of an interdisciplinary

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Yasumasa Morimura, Self-Portrait (Actress), After Charlotte Rampling in The Night Porter | Photo: Courtesy of Peter Norton Collection

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No Face, No Case: Portraiture’s Breaking

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No Face, No Case: Portraiture’s Breaking

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No Face, No Case: Portraiture’s Breaking

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educational experience that strengthens the art history component of Reed's distinctive humanities program.” Stephanie Snyder has served as the Cooley’s director and curator since 2003. Exhibitions are organized by Snyder, often in dialogue or collaboration with Reed faculty and students (as well as museums and galleries around the country) with meaningful attention to the needs and interests of regional communities. The Cooley collaborates with museums, curators, and art historians from around the world, and has traveled its exhibitions to museums such as the Museum of Modern Art, PS1 (New York), and The New Museum (New York). A schedule of three to four exhibitions during the academic year allows the Cooley to exhibit work that would not otherwise be seen in the region. FESTIVAL

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jumatatu m. poe & Jermone Donte Beacham (philadelphia, pa/durham, nc / dallas, tx)

Let ‘im Move You: Intervention

IN-PERSON

Co-Presented by On the Boards and REDCAT Premiered in three Philadelphia neighborhoods in June 2016 This performance is outdoors with sidewalk surfaces.

Part of the duo’s decade-long collaborative research into J-Sette performance, Intervention activates historically and/or predominantly Black neighborhoods, as it uses rhythm and precision as vehicles into subversion and satisfaction. On sidewalks and in alleyways, jumatatu m. poe and Jermone Donte Beacham draw on J-Sette’s call-andresponse structure to reveal the powerfully singular expression that can emerge within this highly regimented dance. J-Sette originated among drill teams and majorette lines of historically Black Southern universities and continues to grab the attention of halftime stadium crowds—while having a parallel life, and alternate political meanings, in the Southern "Black gay club scene." Performance routes are announced only hours before their intervention, freeing the performers to agitate the boundaries of propriety and belonging, and confront the historic imaginations and limitations of these spaces.

Let ‘im Move You is a series of works choreographed by jumatatu m. poe and Jermone Donte Beacham that stem from their decade-long research into J-Sette performance. Initial research for the series absorbed the artists’ curiosity about the performance of joy and the conundrum of Black joy. The series began in the summer of 2013 while jumatatu and Donte were at a residency through Tanzrecherche NRW. The series currently consists of four live performance works and an installation. Intervention brings together a group of Black dancers for a live outdoor performance work on sidewalks and in alleyways in historically or predominantly Black neighborhoods. jumatatu m. poe: I am a choreographer and performer based between Philadelphia and Durham who grew up dancing around the living room and at parties with my siblings and cousins. I strive to engage in and further dialogues with Black queer folks, create lovingly agitating performance work that recognizes History as only one option for the contextualization of the present, and continue to imagine options for artists’ economic and 28 emotional sustainability. Jermone Donte Beacham: Dancing has been in my blood since I can remember. Currently, I have my own J-Sette line, Mystic Force, and plan to increase our already considerable renown in this style of dance in our community, and eventually internationally. I lead the renovated Texas Teasers queer male J-Sette team whose mission is to provide opportunities and guidance in pursuing dance careers for our younger generation of queer male dancers, and providing scholarships to two of those young folks per dance (majorette) season.

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(all) Photos: Gema Galiana | Pictured counterclockwise from top center are jumatatu m. poe, Eric Sanchez, and Amaria Stern

First performed in June of 2016 by jumatatu m. poe and William Robinson (also performing with the duo in Portland), Intervention was a small intervening street performance that traveled through three Black neighborhoods in Philadelphia. The work screamed out in response to the Pulse Nightclub massacre that happened just two weeks prior in Orlando, FL. While it was originally funded independently, performed out of aching necessity, the work has been developed alongside other work of jumatatu and Donte’s Let ‘im Move You series of performance and visual works.

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jumatatu m. poe & Jermone Donte Beacham

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jumatatu m. poe & Jermone Donte Beacham

jumata poe & Jermo Beach

This project received support from the Oregon Arts Commission, the Western States Arts Federation (WESTAF), and the National Endowment for the Arts. Funding for the Commission and its programs is provided by WESTAF and the National Endowment for the Arts. This project is supported by the National Performance Network (NPN) Community Fund. The NPN Community Fund is funded by the Doris Duke Charitable Foundation and the National Endowment for the Arts (a federal agency). For more information: www.npnweb.org. The presentation of Let ‘im Move You: Intervention was made possible by the New England Foundation for the Arts' National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation.

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rise x fall (rubén garcía marrufo, jaleesa johnston, maximiliano) (portland, or)

AT THE END OF EMPIRE

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WORLD PREMIERE

AT THE END OF EMPIRE exists as a live performance, large-scale three-channel video installation, and collectible video art tortas. An audiovisual montage of documentary performance presents the artists in their day-to-day, performing the actions necessary to transit the inbetween. In undressing and veiling they will find stranding echoes of the forgotten eternal. A ritual performance shows bodies engaging in the metamorphoses of space and self, rupturing with violent change, and imbibed into membrane as geometric choreography. A collapse, merging, and final discarding. Conjured from liminal space, the artists of rise x fall consider the rise and fall of an empire and the possibilities between stability and instability. Taking inspiration from the ocean’s crashing waves against the earth, rise x fall simultaneously inhabits the space between the pain and fear of death, and the hope and growth of rebirth.

(all) Photos: Courtesy of the artists

Sponsored by Alberta Abbey Foundation, Caldera Arts, Regional Arts & Culture Council, Compliance Division, Spaceness 2018, Familia Garcia Marrufo, Roxana Gomez, and Sharita Towne.

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jrise x fall (rubén garcía marrufo, jaleesa johnston, maximiliano)

jrise x fa (rubén marrufo jaleesa maximili

Eileen Isagon Skyers (brooklyn, ny)

Fellow to Felt

ONLINE/INSTAGRAM

Fellow to Felt is an ongoing, multi-channel video series that examines various aspects of Filipina/o American identity and tradition. Each video features original and found footage, archival photographs, and obscure historical events, spliced together with pop culture and internet references. Together, these loosely bound, disparate elements of the familial, cultural, and personal refuse standard notions of “history,” looking at Filipina/o diasporas through the traditional lens of kapwa—which I conceptualize as the consciousness of the interrelatedness one has with others. This is rooted in one’s political, cultural, and economic histories, as well as the contemporary struggle to make meaning of our social conditions. Eileen Isagon Skyers has worked with contemporary art and nonprofit arts organizations including the Whitney Museum, David Zwirner, Rhizome, the New Museum, Frame Contemporary Art Finland, PICA, and the Digital 32 Museum of Digital Art (DiMoDA). Her first book, Vanishing Acts, was published by LINK Editions (Brescia, Italy) in 2015, and her writing has been published in the New Museum Catalogue Trigger: Gender as a Tool and Weapon, NATASHA, Wreath, Glass Press of the Future, Web Safe 2k16, Printed Web, and New World UNLTD, among others. Her moving image work has been exhibited nationally and internationally in the U.S., U.K., France, Italy, the Netherlands, and Mexico. Skyers holds a BA in philosophy and a BFA in Studio Art from the University of South Florida (Tampa, FL) and an MA in Critical Studies from Pacific Northwest College of Art (Portland, OR).

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(top) Photo: Mario Galluci (middle) Photo: Courtesy of the artist and Cult Classic (bottom) Photo: Mario Galluci

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Eileen Isagon Skyers

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Eileen Isagon Skyers (brooklyn, ny)

The Who Cares Clock (T.W.C.C.)

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he Who Cares Clock is a time-based print project released T only through the mail. For our second edition, Eileen Isagon Skyers looks at both the spring equinox and summer solstice as original sites for universal human imagination, embedding them with historical reference points, dualities, and personal reflections. In spite of—or perhaps in service to—the reaches of globalization, may we look to the cyclicality of seasons to locate our potential (re)emergence. A “Who Cares?” clock is often gifted on the occasion of retirement, or to mark the “end of work.” What does it mean to give up, forget, or ignore linear time, and to acknowledge natural, personal, or abstract time? Are we in end times, or are we just beginning? The clock asks us a sincere question. The Who Cares Clock is conceived of and edited by Kristan Kennedy. This issue was designed by Stephen Lurvey. Eileen Isagon Skyers is an artist, writer, and curator. Her first book, Vanishing Acts, was published by LINK Editions (Brescia, Italy) in 2015, and her writing has been published in the New Museum Catalogue Trigger: Gender as a Tool and Weapon, NATASHA, Wreath, Glass Press of the Future, Web Safe 2k16, Printed Web, and New World UNLTD, among others.

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Photo: Courtesy of PICA

To obtain a single copy of T.W.C.C. please send four forever stamps and your address to: T.W.C.C. c/o Portland Institute for Contemporary Art 15 NE Hancock Street Portland, Oregon 97212-3936 For international orders, please contact kristan@pica.org.

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Eileen Isagon Skyers

The Who Cares Clock

Eileen Isagon Skyers

The Who Cares Clock

Eileen Isagon Skyers

The Wh Clock

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(top) TBA:18, jumatatu m. poe, Big Body: Experimental J-Sette Performance Workshop | Photo: Aaron Filipowsky (bottom) TBA:19, Artist Conversation, Laura Ortman with Reuben Tomás Roqueñi | Photo: Yuyang Zhang

TBA Institute is a series of free, public programs that connect artists and audiences through deep discussion and critical conversation and serve to illuminate the ideas and inquiries behind festival artists' projects. Through the Institute, artists share their processes of creating and collaborating; their forms of engagement with communities and publics; and the social, political, cultural, and aesthetic contexts and concerns surrounding their work. Through guest artist lectures, panels and dialogues with invited moderators, and interactive workshops, the TBA Institute offers a range of ways to engage more deeply with the festival and with each other. Please note that some TBA Institute events will be virtual (streamed online), while others will be held in person for a limited-capacity, masked audience/participant group in the PICA Pavilion (back lot of PICA). We know that not everyone is able to gather in place right now. As such, most in-person events will be recorded and made available and accessible online shortly thereafter. Some of these recorded videos will be captioned. Please refer to the TBA Festival website for a full Institute schedule, specific information about each event, accessibility, and other details. Please note that a few events will require pre-registration, with instructions provided on the event webpage. All virtual events (streamed online) will be captioned. Some virtual events and some live, in-person events will be ASL-interpreted. These will be noted on each event listing on the TBA website. All of the above information regarding access will be updated as confirmed at pica.org/tba.

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Javaad Alipoor with Roya Amirsoleymani

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Javaad Alipoor with Roya Amirsoleymani Artist Conversation

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PICA Artistic Director & Curator of Public Engagement Roya Amirsoleymani joins Javaad Alipoor to discuss the many layers of Alipoor’s Rich Kids: A History of Shopping Malls in Tehran, a groundbreaking work of live theatre adapted to the digital realm. Structured through interactive multimedia, driven by a compelling narrative, and embracing of internetaware art and web culture, Rich Kids offers sharply nuanced critical commentary on geopolitics and the social conditions of our time. This conversation will unpack this multifaceted work, its cultural influences, and Alipoor’s broader practice in experimental theatre-making.

(top) Photo: Courtesy of the artist (bottom) Film stills: Rich Kids

d Alipoor Roya oleymani

Javaad Alipoor is a multi-award-winning playwright, director, filmmaker, and performer. The Believers Are But Brothers (2017) opened in Edinburgh, where it won a Fringe First Award, before transferring to London’s Bush Theatre and on to an international tour. Javaad adapted the play for the BBC in 2018. The play’s sequel—Rich Kids: A History of Shopping Malls in Tehran (2019)—premiered at the Traverse Theatre. Its London transfer and subsequent national tour was postponed by COVID-19. A new digital version went on to tour online, including at the Public Theater’s Under The Radar Festival and was selected for the Sundance Film Festival. He is artistic director of The Javaad Alipoor Company, which is currently developing work with theatres and festivals around the world, including the UK’s National Theatre, the National Theatre of Parramatta, the Mannheim National Theatre, Battersea Arts Centre, and HOME Manchester. As Artistic Director & Curator of Public Engagement, Roya Amirsoleymani collaboratively curates PICA’s exhibitions, performances, public programs, and TBA Festival and co-directs PICA’s Creative Exchange Lab residency program, SPACE Program, and Precipice Fund (a Warhol Foundation re-granting program). She also works closely on PICA’s partnership with A Black Art Ecology of Portland. Since 2012, Roya has been integral to expanding PICA’s initiatives concerning 39 access, equity, inclusion, education, participation, critical inquiry, and community partnerships, with attention to contemporary art, experimental performance, and their social, political, and cultural contexts. She presents at conferences and festivals; serves on grant and award panels; sits on RACC’s Public Art Committee; and teaches in PSU’s Art & Social Practice MFA Program. She holds a BA in contemporary visual culture & gender studies and a Master’s in arts management. Roya is committed to reimagining institutions in partnership with their communities to realize a more just art world and whole world.

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vanessa german and Mia Imani with Elisheba Johnson (Wa Na Wari)

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vanessa german and Mia Imani with Elisheba Johnson (Wa Na Wari) Artist Conversation

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(top) Elisheba Johnson | Photo: Courtesy of the artist (bottom) Photo: Courtesy of Wa Na Wari

ASL interpretation will be provided. PICA's back lot is accessible for those with mobility aids but does have a slight slope. Priority seating for those with access needs is available.

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In this featured panel conversation, Elisheba Johnson (curator, Wa Na Wari, Seattle) facilitates a conversation with vanessa german (Pittsburgh) and Mia Imani (Berlin) about their individual TBA performances (THE BLUE WALK and Mourning Rituals, respectively) and their broader artistic practices. While highly distinct, both german and Imani engage—through iterative processes, movement rituals, place-based research, and public participation—the specificities of space and site, erasure of histories and narratives, and possibilities for gathering and healing in the context of Portland’s Black communities and spatial geographies. For vanessa german and Mia Imani's bios, please visit pages 8 and 12. Wa Na Wari is committed to the ideas of Black artists from all over the diaspora and partnering with TBA in 2021 offers us the opportunity to work even more closely with Black femme artists who are lifting up Black joy, Black resistance, and Black power. TBA has long been the reason Seattlietes have traveled down the I-5 corridor to experience performance art from all over the world. This year is no different. Our work together will be to hold space for intense conversations about Black land and autonomy, Black bodies and historical erasure, all while combating the physiological and psychological effects of gentrification on Black people all over the Northwest.

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Garrick Imatani, Travis Stewart, Brook Colley with Ashley Stull Meyers

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ck Imatani, s Stewart, k Colley Ashley Meyers

Garrick Imatani, Travis Stewart, Brook Colley with Ashley Stull Meyers Panel Discussion

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ASL interpretation will be provided. PICA's back lot is accessible for those with mobility aids but does have a slight slope. Priority seating for those with access needs is available.

Portland-based curator and writer Ashley Stull Meyers facilitates a conversation with Garrick Imatani and Travis Stewart (Chinook, Rogue River, Kalapuya) about The Drift, the culmination of their multi-year project that engages questions of repatriation, healing, and Indigenous futures through virtual reality, publication, digital fabrication, and photography. Imatani and Stewart will be joined by special guest Dr. Brook Colley (Wasco, Warm Springs, Eastern Cherokee; Enrolled: Eastern Band of Cherokee), associate professor and chair of the Native American Studies program at Southern Oregon University.

(all) Photos: Courtesy of the artists

For Garrick Imatani and Travis Stewart's bios, please visit page 14. Dr. Brook Colley is an associate professor and chair of the Native American Studies program at Southern Oregon University. Colley’s research is focused on federal Indian law and policy, Oregon Tribes, intertribal relations and conflict, and community health and healing. Her book Power in the Telling: Grand Ronde, Warm Springs, and Intertribal Relations in the Casino Era was published in 2019 by the University of Washington Press and it was a finalist for the Frances Fuller Victor Award for General Nonfiction. In 2014, she received her PhD in Native American Studies from the University of California, Davis, and is currently working on an intertribal Indigenous-led collaboration to enhance first food access and first food production in Southern Oregon. She lives in Jackson County with her daughter and two pups named Honey and Leonard Cohen. Ashley Stull Meyers (she/her/hers) is a writer, editor, and culture worker. She has curated exhibitions and public programming for a diverse set of arts institutions along the West Coast, including those 43 in San Francisco, CA, Oakland, CA, Seattle, WA, and Portland, OR. She has been in academic residency at the Bemis Center for Contemporary Art (Omaha, NE) and the Banff Centre (Banff, Alberta). She has served as Northwest Editor for Art Practical and has contributed writing to BOMB, Rhizome, ARTS.BLACK, and SFAQ/NYAQ. In 2017 Stull Meyers was named director and curator of The Art Gym and Belluschi Pavilion at Marylhurst University, and the following year was made co-curator of the 2019 Portland Biennial. Currently, she is program director for the Multicultural Resource Center at Reed College, and is contracting as an independent curator.

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Eileen Isagon Skyers

Eileen Skyer

Eileen Isagon Skyers Artist Lecture

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Co-sponsored by the MA in Critical Studies program at PNCA at Willamette University. ASL interpretation will be provided.

n Isagon rsss

Photo: Courtesy of the artist

Eileen Isagon Skyers will share a talk covering her multifaceted practice and career in the arts. She will discuss our contemporary framework for viewing, making, and valuing art against a backdrop of rapidly shifting technology, and how that manifests in her own work and criticism about digital art and culture. Eileen Isagon Skyers has worked with contemporary art and nonprofit arts organizations including the Whitney Museum, David Zwirner, Rhizome, the New Museum, Frame Contemporary Art Finland, PICA, and the Digital Museum of Digital Art (DiMoDA). Her first book, Vanishing Acts, was published by LINK Editions (Brescia, Italy) in 2015, and her writing has been published in the New Museum Catalogue Trigger: Gender as a Tool and Weapon, NATASHA, Wreath, Glass Press of the Future, Web Safe 2k16, Printed Web, and New World UNLTD, among others. Her moving 45 image work has been exhibited nationally and internationally in the US, UK, France, Italy, the Netherlands, and Mexico. Skyers holds a BA in philosophy and a BFA in studio art from the University of South Florida (Tampa, FL) and an MA in Critical Studies from Pacific Northwest College of Art, (Portland, OR).

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Emily Johnson, Crystal Raven Chacon, Cortez Drew Michael, and Holly Mititquq Nordlum with Ka’ila FarrellSmith

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Emily Johnson, Crystal Raven Chacon, Cortez Drew Michael, and Holly Mititquq Nordlum with Ka’ila FarrellSmith Emily Johnson,

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Emily Johnson, Raven Chacon, Drew Michael, and Holly Mititquq Nordlum with Ka’ila Farrell-Smith Artist Conversation

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(top left) Photo: Tracy Rector and Melissa Ponder (top right) Photo: Courtesy of the artist (bottom left) Photo: Courtesy of the artist (bottom right) Photo: Samuel Nothstine, Lynn's Angle Photography

ASL interpretation will be provided. PICA's back lot is accessible for those with mobility aids but does have a slight slope. Priority seating for those with access needs is available.

Emily Johnson and collaborators on her TBA project Invitation To Being A Future Being—including Raven Chacon, Drew Michael, and Holly Mititquq Nordlum–will share insights into their creative and collaborative processes in making a work of performance, installation, sound, and ancestral landscapes that propose new futures and relationalities with each other and our world. Moderated by Ka’ila Farrell-Smith. For the full bios of all conversation participants, please visit this event's webpage at pica.org/tba/Conversation-Emily-Johnson-and-collaborators. Ka'ila Farrell-Smith is a contemporary Klamath Modoc visual artist, writer and activist based in Modoc Point, Oregon. The conceptual framework of her practice focuses on channeling research through a creative flow of experimentation and artistic playfulness rooted in Indigenous aesthetics and abstract formalism. Utilizing painting and traditional Indigenous art practices, her work explores space in-between the Indigenous and western paradigms. Ka’ila displays work in the form of paintings, objects, and selfcurated installations. Ka’ila is a 2021 Hallie Ford Fellow, a 2019-2020 Fields Artist Fellow with Oregon Humanities, and a Board Member of Rogue Climate. Her work has been exhibited at Out of Sight, Museum of Northwest Art, Tacoma Art Museum, WA; Missoula Art Museum, MT and Medici Fortress, Cortona, Italy; and in Oregon she has work in the permanent collection of the Jordan Schnitzer Museum of Art and Portland Art Museum. She is a featured artist at SCALEHOUSE Creative in Bend, Oregon and her work will be on view in 2021-2023 at DITCH Projects in Springfield, Oregon, MESH curated by Kathleen Ash-Milby at the Portland Art Museum, Many Wests: Artists Shape an American Idea at The Boise Art Museum, The Utah 47 Museum of Fine Arts, Jordan Schnitzer Museum of Art, the Whatcom Museum, and the Smithsonian American Art Museum. Ka’ila has recently been selected to attend artist residencies at Djerassi, UCROSS, Institute of American Indian Arts, and Crow's Shadow. Ka'ila Farrell-Smith received a BFA in Painting from Pacific Northwest College of Art and an MFA in Contemporary Art Practices Studio from Portland State University. She is a a certified Wilderness First Responder and is a Land Defender on the front lines fighting resource extraction projects across the Pacific Northwest.

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Crystal Cortez

Emily Jones & Hannah Krafcik

Crystal Cortez

Emily Jones & Hannah Krafcik

Crystal Cortez

Emily Jones & Hannah Krafcik

Crystal Cortez

Emily Jones & Hannah Krafcik

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Emily Jones & Hannah Krafcik

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Emily Jones & Hannah Krafcik

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Workshop

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This movement-based workshop will take place outside, under an open-air, shaded structure with roof covering, on concrete ground that is ADA accessible but slightly sloped in some parts. Please wear comfortable clothes and supportive footwear. Water sources will be available. Seating will be provided for those who need to rest. Gender-neutral, wheelchair accessible restrooms are available on site. Please contact boxoffice@pica.org with specific requests or questions regarding accommodations and access needs.

(all) Photos: Courtesy of the artists

Jones & ah Krafcik

What does it mean to have a critically engaged nervous system? How might the practice of following this intuitive and predictive technology cultivate possibilities for meaningmaking and self-knowing? In this workshop Hannah and Emily will offer various scores and practices from their collaboration. Participants will be invited to attune to their sensations with attention toward nervous system awareness. This workshop will prioritize personal agency, needs, and boundaries for engagement.

Emily Jones and Hannah Krafcik make performances and facilitate movement practices together. They are white settlers residing on the unceded lands of the Cowlitz, Confederated Tribes of Grand Ronde, Clackamas, and many other Tribes, also known today as Portland, OR. Hannah (they/them) is a neurodivergent dancer and writer. Emily (she/they) is a dancer, movement educator, and bodyworker. The artists’ long-standing collaboration is driven by considering how power dynamics impact their bodyminds and behaviors.

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Raja Feather Kelly with SHAWNÉ MICHAELAIN HOLLOWAY

Raja Fe Kelly wi SHAWN MICHA HOLLO

Raja Feather Kelly with SHAWNÉ MICHAELAIN HOLLOWAY Artist Conversation

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Raja Feather Kelly, a dance and performance artist and choreographer, is joined by artist and educator SHAWNÉ MICHAELAIN HOLLOWAY, for a discussion of the digital adaptation of Kelly’s performance HYSTERIA for TBA, a project that builds on Kelly’s previous work and continues his examinations of pop culture, Black queer subjectivity, alienation, and consumption. Kelly and HOLLOWAY first met and recorded some of their conversations as part of PICA’s Spring 2021 Creative Exchange Lab residency program. Now, they reunite for this virtual TBA Institute event!

(all) Photos: Kate Enman

eather ith NÉ AELAIN OWAY

Raja Feather Kelly is a choreographer, director, and artistic director of the feath3r theory. Raja is an Obie, Bessie, and three-time Princess Grace Award winner. Raja had the honor of being the choreographer for the 2019 and 2020 Pulitzer-winning dramas Fairview and A Strange Loop. Raja Is also a Randjelović/Stryker Resident Commissioned Artist at New York Live Arts, a Jerome Hill Artist Fellow, and a Creative Capital award recipient. Currently a Creative Associate at The Juilliard School, Kelly has created fifteen evening-length premieres and has worked extensively for Off-Broadway theatre. His choreography garnered a Breakout Award from the SDCF and the Solange MacArthur Award for New Choreography. He was Dance Magazine's inaugural Harkness Promise recipient. He was born in Fort Hood, Texas, and holds a BA in dance and English from Connecticut College. SHAWNÉ MICHAELAIN HOLLOWAY is a new media artist and poet. 51 Known for using sound, video, and performance, HOLLOWAY shapes the rhetorics of technology and sexuality into tools for exposing structures of power. She has spoken and exhibited work internationally in spaces like The New Museum (NYC), The Kitchen (NYC), Institute of Contemporary Arts (London), and the Museum of Contemporary Art Chicago. SHAWNÉ was a 20-21 Leslie-Lohman Museum of Art Queer Theatre & Performance Resident and is currently teaching across the New Arts Journalism and the Film Video New Media and Animation departments at the School of the Art Institute of Chicago.

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Jennie MaryTai Liu, Simon Liu, and Andrew Gilbert with Kristan Kennedy Jennie

Jennie MaryTai Liu, Simon Liu, and Andrew Gilbert with Kristan Kennedy

Jennie Liu, Sim and An Gilbert Kristan

Jennie MaryTai Liu, Simon Liu, and Andrew Gilbert with Kristan Kennedy Artist Conversation

ONLINE

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Hong Kong-raised siblings Jennie MaryTai Liu and Simon Liu, in collaboration with Portland-raised artist Andrew Gilbert, share insights into the making of their experimental films force (2020) and Sistern (2021), both shot in Hong Kong in the midst of recent and current political turbulence, and exhibited for TBA in the form of an immersive, multi-channel installation and sound environment. The artists will be in conversation with Kristan Kennedy, PICA’s Artistic Director & Curator of Visual Art.

(all) Photos: Courtesy of the artists

Jennie MaryTai Liu is an artist working across performance, choreography, video, and writing. Her work has recently been supported by the Mike Kelley Foundation, LACMA, Human Resources, The Mistake Room, The Bushwick Starr, and Headlands Center for the Arts. Simon Liu is an artist filmmaker working between alternate documentary forms, abstract diary films, 16mm projection performance, and video installation. He has exhibited e MaryTai at institutions including the New York Film Festival, Sundance Film Festival, mon Liu, International Film Festival Rotterdam, BFI, The Shed, M+ Museum, Tai ndrew Kwun Contemporary, and a solo presentation at the Museum of Modern t with n Kennedy Art as part of their Modern Mondays series. Andrew Gilbert is a Los Angeles-based performer, musician, and teacher. In 2007 he co-founded Poor Dog Group, an experimental performance collective with whom he has developed six works. He most recently designed sound for choreographer Faye Driscoll's Thank You for Coming: Space. Andrew is one half of the band Royal Auditorium. Kristan Kennedy is an artist, curator, and educator, who has been involved with PICA since its founding in 1995. Kennedy began working with PICA as a volunteer, then was supported by the organization as an exhibiting artist, consequently served the organization as a board member, and joined the staff in 2003. She is currently Artistic Director & Curator of Visual Art at PICA. Kennedy works collaboratively alongside co-artistic directors Roya Amirsoleymani and Erin Boberg Doughton to set the artistic vision for the organization, curate the Time-Based Art Festival, manage the Precipice Fund and create public programs. Kennedy currently directs PICA's year-round Exhibition Program, where she focuses on commissioning and developing large-scale projects, publications, 53 and happenings with artists that exist at the borders of genres. She is a working artist who is represented by Fourteen30 Contemporary Art, here in Portland Oregon. Kennedy writes and lectures about art praxis, curatorial practice, and artist-centric ethics within and outside of institutional frameworks. She has taught in various MFA programs across the country for the last decade as an Associate and Visiting Professor teaching Contemporary Art seminars, mentoring, and developing visiting artist programs. Kennedy sits on the board of the Andy Warhol Foundation for Visual Arts and is a founding member of Common Field. INSTITUTE

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Gerard Minaya, Jermone Donte Beacham, Nikolai McKenzie, and Sanchel Brown with Jasmine Johnson

Gerard Jermo Beach Nikola McKen Sanch with J Johnso 54

Gerard Minaya, Jermone Donte Beacham, Nikolai McKenzie, and Sanchel Brown with Jasmine Johnson Conceived by Jamarsa Peters in partnership with Jermone Donte Beacham and jumatatu m. poe Panel Discussion; Re-Sette the Stage: Choices, Circulations, and Stagings

ONLINE

ASL and captioning will be provided.

(top) Photo: Gema Galiana (middle) Photo: Maria Baranova (bottom) Photo: Tayarisha Poe

d Minaya, Please note: This is the final conversation of a three-part series. one Donte ham, Re-Sette the Stage brings together members of the Let ‘im ai nzie, and Move You project with members from the Meet Me On Da hel Brown Floor community in an exploration of the vastness of the Jasmine Black queer majorette dance community. Let ‘im Move You is on

the name of a series of performance and visual art projects led by jumatatu m. poe and Jermone Donte Beacham that holds the Black femme and Black queer innovations of J-Sette at its center to explore team mentality, the complexities of rhythm, and the communicability of delight. Meet Me On Da Floor is a community group dedicated to assembling the many squads of J-Setters into a national unity to organize social and competitive events together, to spearhead leadership activities that engage the youth within the community, and to create and uphold standards for the J-Sette art form. Moderated by Jasmine Johnson. For jumatatu m. poe and Jermone Donte Beacham's bios please see page 28. Jamarsa Peters is a business professional with an astute financial acumen, an empathic heart, and a strong sense of business and personal responsibility. These qualities were shaped largely by his family dynamic. He is the oldest of two siblings. It was after the death of his mom that he assumed paternal responsibility for his younger siblings. With this responsibility, he decided to become this paragon for positivity and for excellence that his siblings could emulate. Because he wanted to be that example for his family, he chose to pursue higher education at Grambling State University where he majored in business information systems, earning his bachelor of science degree in 2006. In college, he was a member of the collegiate cheerleading team and received technical dance training while being a part of the Orchesis Dance Company under the direction of Dianne 55 Maroney-Grisby, former Alvin Ailey dancer. In addition to his business acumen, he is an extremely powerful choreographer, dancer, and producer having danced with LGBTQ underground Legendary male J-Sette teams like Grambling X-Men, Memphis Elite, and the Texas Teasers where he currently resides in Dallas. Currently, he is recognized as an Icon in the Meet Me On Da Floor dance community where he now serves as President while continuing to change the narrative and making a difference one 8 count at a time!

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rise x fall (rubén garcía marrufo, jaleesa johnston, maximiliano)

rise x f (rubén marruf jaleesa maximil

rise x fall (rubén garcía marrufo, jaleesa johnston, maximiliano) Artist Conversation

IN-PERSON

ASL interpretation will be provided. PICA's back lot is accessible for those with mobility aids but does have a slight slope. Priority seating for those with access needs is available.

(all) Photos: Courtesty of the artists

fall n garcía fo, a johnston, liano)

rise x fall is a collaboration of Portland-based artists rubén garcía marrufo, jaleesa johnston, and maximiliano. Taking the form of live performance, object, and large-scale, multichannel video installation, their TBA project AT THE END OF EMPIRE is made and presented by marrufo and maximiliano. For this Institute event, they are joined by collaborator 57 johnston for a conversation about the project’s process, ideas, and concerns, as well as rise x fall’s broader collective work. Conjured from liminal space, the artists of rise x fall consider the rise and fall of an empire and the possibilities between stability and instability. Taking inspiration from the ocean’s crashing waves against the earth, rise x fall simultaneously inhabits the space between the pain and fear of death, and the hope and growth of rebirth.

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Crystal Cortez

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Crystal Cortez

Crysta Cortez

(left) Timothy White Eagle | Photo: Courtesy of the artist (right) Photo: Maya Vivas, a convoluted remedy to my soft hands | Photo: Video still courtesy of the artist

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Creative Exchange Lab: Fall 2021 We are thrilled to announce our Fall 2021 Creative Exchange Lab artists, with an edition focused on building connections between the Portland and Seattle regions: Crystal Cortez (Portland, OR), mario lemafa (Seattle, WA), Sara Siestreem (Portland, OR), Maya Vivas (Portland, OR), and Timothy White Eagle (Seattle, WA). PICA’s Creative Exchange Lab (CXL) is a residency program that provides artists with time, space, and funding to develop projects, ideas, and relationships. With no expectations of a “finished product” CXL is an open opportunity for artists to immerse themselves in their practices, and to learn from and connect with one another. True to its name, CXL lends itself to generating deep and meaningful bonds within each Lab cohort, often leading to future collaborations and partnerships. Join us for our CXL Meet the Artists event to learn more about each of these artists and their current projects, processes, and practices!

Creative Exchange Lab is generously supported by the Andrew W. Mellon Foundation.

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Crystal Cortez

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Crystal Cortez

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Crystal Cortez

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Crystal Cortez

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Crystal Cortez

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Photo: Ke Med

Creative Exchange Lab Artist

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Crystal Cortez is a sound and installation artist and creative technologist based out of Portland, Oregon. She is also a professor of Creative Coding and Sonic Arts at Portland Community College. As someone who never saw herself represented in computer music or creative tech, her work focuses on the empowerment of underserved populations gaining access and knowledge around technology. In 2019 she co-founded whateverSpace, a maker space offering free and sliding scale workshops and technology rentals with priority going to the BIPOC community. Under her performance moniker Crystal Quartez, she transforms field recordings, using synthesis, audio programming, data sonification, and 3D sound spatialization to produce sonic realms for reflection and release. Her practice has recently involved the development of interactive sculptural interfaces and wearable technology that monitor movement and other corporeal methods to liberate the performer from their interfaces. Her art has been shown at NIME, PNCA, Disjecta, PICA, Navel (LA), and more. CXL

CXL

mario lemafa

mario lemafa (seattle, wa)

Creative Exchange Lab Artist

Photo: Courtesy of the artist

CXL

mario lemafa (b. 1990 / Hawai'i) is an artist and independent organizer based in Seattle, WA. their recent work includes presentations at the '19 Honolulu Biennial, SOIL Gallery, cogean?, and yәhaẃ at King Street Station. "when i was a child my mother used to like a certain Suave shampoo, 'Tropical Breeze' (i believe it was called). it reminded her of home. nothing in the shampoo bottle reflected her material relation to the islands. while she wore a scent to remember a place, others might wear the same one with the desire to some day go there. i still think about that." CXL

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Sara Siestreem

Sara Siestr

Sara Siestreem (portland, or)

Creative Exchange Lab Artist

(top) Photo: Aaron Johanson (bottom) Photo: Mario Gallucci

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CXL

Sara Siestreem (Hanis Coos, 1976-) is a master artist from Oregon living in Portland, where she grew up. She comes from a family of professional artists; her training began in the home. Her lifelong mentor is Lillian Pitt (Wasco, Warm Springs, Yakima). Her weaving teachers are Greg Archuleta (Grand Ronde) and Greg A. Robinson (Chinook Nation). Siestreem graduated Phi Kappa Phi from PSU in 2005. She earned an MFA with distinction from Pratt Art Institute in 2007. She is represented by Augen Gallery. Siestreem's studio work is multi-disciplinary and branches into education and institutional reform. Her work has been supported through grants, residencies, and fellowships, and has been shown regionally, nationally, and internationally. Locally, her work has been on near constant public display for over a decade. She created a weaving program for her tribe and teaches collegiate studio arts and theory at PNCA. Her work in institutional reform relates to curatorial and educational practices regarding critical race theory, and she is director of The Lab at OJMCHE. CXL

CXL

Maya Vivas

Maya Vivas (portland, or)

Photo: Courtesy of the artist

Creative Exchange Lab Artist

CXL

Maya Vivas is a multidisciplinary artist working in a variety of mediums such as ceramics, performance, video, and installation. Maya has exhibited work, spoken on panels, and hosted workshops throughout the United States at venues and institutions including PICA, The National Council on Education for the Ceramic Arts, Louisiana State University, and Yale. Vivas is also co-founder of Ori Gallery, whose mission is to redefine "the white cube" through amplifying the voices of Queer and Trans Artists of color, community organizing, and mobilization through the arts. CXL

CXL

Timothy White Eagle

Timoth White

hy Eaglez

Timothy White Eagle (seattle, wa)

Photo: Naomi Ishisaka

Creative Exchange Lab Artist

CXL

Timothy White Eagle is a mixed race artist. He graduated from the University of Utah with a BFA in theater. His art practice rises from a decades-long exploration of traditional ritual and embodiment practice. His preferred mediums include objects, photography, durational performance, storytelling, and installed space. He has served as an artist-in-residence at Town Hall and On The Boards in Seattle, as well as La Mama ETC in NYC. Timothy was the recipient of the WAA/AIP Launch Pad award in 2019 as well as a Seattle City Artist award in 2020. Timothy toured internationally as one of the artistic directors and a performer with MacArthur Fellow Taylor Mac’s Pulitzer Prize finalist “A 24-Decade History of Popular Music.” Timothy’s new ritual performance work, “What To Do When The Air Returns,” will premiere at LaMama in November 2021. CXL

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(left) Garrick Imatani, The Drift | Photo: High-res video still (right) Anthony Hudson / Carla Rossi, Clown Down | Photo: Matty Newton

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Crystal Cortez (portland, or)

Creative Exchange Lab Artist All events will be streamed with captioning. Within one week after each live event Auslan, ASL, and voice descriptions will be available for on-demand viewing in our archive. Upon request events will be live interpreted. For any questions regarding

accessibility contact: info@knowledgeofwounds.com

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WHERE IS THE BOX OFFICE? There will be no in-person Box Office 5 before the Festival opens. However, you can reach the TBA Box Office by email at boxoffice@pica.org or call 503-224-PICA leading up to and throughout the entire Festival. 6 During the Festival, Box Office staff will be available in-person at PICA one hour before each performance taking place at PICA, 15 NE Hancock St. For performances that are off-site and not 7 taking place at PICA, there will not be a Box Office on site. IS TBA:21 ONLINE OR IN PERSON? Both! This year’s festival will be a 8 hybrid model with events happening online and in person at PICA and at various locations in Portland, OR. HOW DO I STREAM AN 9 ONLINE EVENT? An all-access link will be provided to you upon purchase of a pay-what-youcan TBA pass. 10 HOW DO I BUY A TBA:21 PASS? You can buy a TBA:21 all-access and pay-what-you-can pass right from our website pica.org/tba or by contacting our Box Office at boxoffice@pica.org or 11 call 503-224-PICA. DO I NEED A PASS TO ATTEND TBA:21? Yes. All TBA:21 passes are all access 12 and pay what you can. PASS LEVELS: Pay What You Can $0 (limited quantity) Pay What You Can $25 13 Pay What You Can $50 Pay What You Can $100 Pay What You Can $200 (Covers the cost of an individual pass and multiple passes at $0 14 for community access) *Please note, there is no physical pass to this year’s festival. WHAT DOES MY PASS INCLUDE? 72 All passes include access to online and 15 in-person Festival programming. IS ANYTHING “OFF PASS”? Yes. S/kin by Knowledge of Wounds and There You Are by Holland Andrews

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are “off pass” and must be purchased separately. Please visit their event webpages for more information and links for purchasing. DO I NEED TICKETS TO ATTEND AN EVENT? There are no individual tickets sold to individual performances. However, passholders will need to make reservations to guarantee seating for all in-person performances taking place at PICA and for a few select online events. Please see the listed venue/ticketing details on the individual event pages for details on reservations or contact the TBA Box Office at 503-224-PICA. WHAT IF I ARRIVE LATE FOR A SHOW? In-Person: As a general rule, there is no late seating. All shows begin promptly as listed. For performances at PICA, you must check in no later than 15 minutes before curtain to ensure seating, even with a pass reservation. Online: Rich Kids: A History of Shopping Malls in Tehran by Javaad Alipoor is an online performance that begins sharply at the start times listed. If you log in late, you will not be able to rewind or start the program at the beginning. All other online performances are video on demand meaning you can stream at your leisure and on your own time! IF I RESERVE A SEAT FOR AN INPERSON PERFORMANCE AT PICA DOES MY CHILD GET IN FOR FREE? Yes, your child may attend for free if they can sit on your lap. Otherwise, you will need to reserve an additional seat. Please note, while we welcome children and babies, we may have to ask you to wait in the lobby if there is any disturbance to the live performance. WHICH SHOWS ARE APPROPRIATE FOR CHILDREN? CAN I BRING MY FAMILY? PICA supports freedom of speech for artists and the audiences’ right to choose what to see and hear. Due to the nature of live performance, we cannot prescreen all works for

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content. However, if you have specific concerns or questions, our Box Office staff can offer suggestions on shows.

and outdoors, regardless of vaccination status. Anyone who is experiencing or exhibiting any symptoms of COVID-19 or who has been in contact with others CAN YOU REFUND OR EXCHANGE who are is asked to stay home to avoid MY PASS? the risk of exposing others. During PICA is committed to paying our artists the Festival, please visit pica.org/tba and crew for scheduled performances. for the most up-to-date COVID policy This means that if we need to cancel/ information as this may change. postpone a show in the event of an unforeseen event—such as wildfires, TRANSPORTATION poor air quality, or shifts in the PICA is located in the Eliot neighborhood pandemic—we will still pay our artists/ of northeast Portland. We are close crew as promised. In the case of a to bus lines 4, 6, 17, and 44. Stops for cancellation or postponement, we ask the A Loop and B Loop Streetcar audiences to please consider the cost are approximately 0.3 miles from our of your pass as a donation in solidarity with fair wages, rather than requesting building. The nearest MAX station is Rose Quarter Transit Center which is a refund. That said, if you would prefer approximately 0.5 miles away. On-street to have your pass purchase refunded, parking is available. Please be aware you can contact the Box Office at boxoffice@pica.org or call 503-224-PICA that we reside in a residential area and therefore ask that all PICA guests, and a box office representative will be staff, and audience members treat our happy to assist you. neighborhood and neighbors, housed ARE EVENTS ADA ACCESSIBLE? and unhoused, with the utmost respect. PICA’s main warehouse space is on the ground floor and is accessible to those HAVE QUESTIONS? with mobility aids. ADA-accessible, We are here to help! Email gender-neutral restrooms and a water boxoffice@pica.org or call 503-242-PICA. cooler are located inside of PICA. PICA's back lot is accessible for those with mobility aids but does have a slight slope. Priority seating for those with access needs is available. In addition, accessibility notes have been added to the webpage of each TBA event including notes about captioning and ASL, or any additional notes that may be specific to that event. If you have questions about the accessibility of a specific venue/location, including questions about parking, please contact the Box Office for information at 503-224-PICA (7422). COVID-19 For all of the Festival’s indoor, live performances we will require either a proof of a full course of COVID-19 vaccination OR proof of a negative COVID-19 test taken within 48 hours prior to entry. For all other in-person programs, all guests over the age of 2 are required to wear a mask and keep 6 feet apart while indoors. Per the statewide mask mandate, masks are required indoors

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SUPPORTERS

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aaron grady Aaron Lafrenz Abbey Labrum Abby Poust Abe Ingle Adam Kuby Adrian Austin-King Adrian Eberstein Adrian Keener Al Solheim Alex Lizerman Alex Novie Alex Sarason Alicia Rinehart Allan Pichardo Allie Furlotti Allie Hankins allison jones Alyce Flitcraft and Richard Solomon Amanda Peden and Patrick Leonard Amazon Smile Amelie Lyons Ames LeeKing Amy Calderwood Amy Conway Amy Neymeyr Andi Bakos André Middleton Andrew Apter Andrew Billing Andrew Dickson and Susan Beal Andrew Lintz Andrew Price Angela Molloy Murphy Ann Singer Annette Toutonghi Anton Vetterlein Ariana Jacob Armando Manalo Ashley Aguirre Ashlin Aronin Athen O'Shea Aundria Morse Aurelius Capellan Autumn Knight Aviva McClure Barry Johnson Barry Tonkin Bealleka Makau Beth Hutchins and Pete Skeggs Beth Matthiessen Betsey Brock Bill Boese Bill Flood Bora Architects Bradley Coffey Breesa Culver Brian Rogers Britt Howard Brooke Hunter Brooke Williams Bryan Edgington Camp Colton Carol Rose Carrie Calonzo Carson Terry Cary Clarke and Meri Dunn Caryn Brooks Casey Mills and Carmen Calzacorta Catherine Egan

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Cathy Denning Cathy Edwards and Mike Wishnie Cathy Gastelum Cathy HenschelMcGerry Celeste Weber Cerinda Survant and David Kaplin Char Breshgold Charlotte Rubin Charmian Creagle Cherri Roden Cheryl Phelps Chris Murphy Christian Ramirez Christiane Millinger and Anton Pardini Christina Sullivan Christina Volgyesi Christine Bourdette and Ricardo Lovett Christine Galloway Christine Gwillim Christine Mason Christopher Nolan Christopher Rocca Christy Wyckoff Cindy Bradder Clare Hatlo Cole Cohen Cole Terrie Coon Lam Courtney Aguirre Courtney Dailey and Michael Hyde Courtni White Craig Epplin Cristi Miles Curtis Louie Cynthia Post Hunt Cynthia Shaw Dan Wieden and Priscilla Bernard Wieden Daniel Peabody Daniel R Fogg Danny Bittker Dao Strom Dave Mendenhall Dawn Riddle Debbie Hill Dee Westwood Denise Busch Dennis Brown and Dave Meeker Dennis Johnson and Steven Smith Devra Polack Diane Elliott Diane Jacobs Diane McCartney Diane Schmitz Diane Sugimura Dick Frey Dorie and Larry Vollum Doug Benidt Doug Carmean Doug Skidmore Dulcinea Myers-Newcomb Eddie Reed Edgar Miramontes Edlen & Co. Eileen Jimenez Eileen Kirschner

Elinor Gollay Eliza Hofkosh-Hulbert Elizabeth Award Elizabeth Briesemeister Elizabeth Grossberg Elizabeth Orr Elizabeth Spavento Elizabeth Spreen Ellen Fortin and Michael Tingley Eloise Damrosch and Gary Hartnett Emily Squires Emily Weltman Eric Montague Erin Wilby Ethan Seltzer and Melanie Plaut Fernanda D'Agostino Florence Dorazi Frances Rothman Gail Longhi Gail Stone Geof Beasley George and Nancy Thorn George Johnson Grace Carlson Grace Kook-Anderson and Lev Anderson Green Gables Design & Restoration, Inc. Gretchen Schnepper Hannah Krafcik Hannah Litzenberger Hannah Story Brown Harlee Case Harold McNaron Hayley Hilmes Hayley Young Heather Lane Howard Shapiro Ilsa Perse Iris Williamson Jacob Suher Jacqueline Hoyt Jana Bauman and John Baker Jane Schiffhauer Jann Frederick Jason Ptaszek Jeanie Lai and Gary Golla Jeffrey Mills Jene Etheridge Jennifer Dolan Jennifer Keyser Jennifer Nugent Jennifer Randall on behalf of Youth Development Foundation Jenny Ampersand Jenny Chu Jenny Gardon Jessica and Kirk Kelley Jessica Rossman Jill Keeney Jill Sherman and Marc Monaghan Jim Turner Jimin Kim Joanna Bloom Joanna Laird Johloyd Strong John and Zaida Cooper

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John Robinson John Shipley John Wix Joie Bassham Jon Barco Jordan Pieper Judy Cooke Judy Jacobson Julia Dolan Julien Leitner Juliette Delfs Kandis Brewer Nunn Karen Stolzberg Karl Lefevre Kate Bredeson Kate Reingold Katherine Duran Kathi Kazala Kathleen Lewis Kathleen Morris Kathryn Cellerini Moore Kathy Norton Keith Karoly Kelly Forrest Ken Edwards Ken Jagan Kendra Roberts Killian Pacific Kimberly Shephard Kimberly Sutherland Kit Gillem Kohel Haver Krista Cibis Kristen Broyer Kristi Stokes Kristin Bremer-Moore Kristin Ward Kristina DiTullo Laura Alexander Laura Gutiérrez Laura Heit Laura Paulini Leah Erickson Lee Lee Leslie Durst Linda Austin and Jeff Forbes Linda B Peters Linda Hutchins and John Montague Linda K Johnson and Stephen Hayes Linda Wysong Lisa Jarrett Lisa Platt Logan Murdock Starnes Lora Friess Lucinda Carmichael Luisa Adrianzen Guyer and Leigh Guyer Lymay Iwasaki Maggie Heath Malia Jensen Marcus Fischer Margit Galanter Mariko Fukuyama Clark and Patrick Clark Marilou Carrera Marjorie Hirsch Mark Jurva Mark Kornblum Mark Russell Mark Terry

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Marlana Donehoo and Reuben Roqueñi Marriam Leve Martin Muller Mary and Aurora Josephson Mary Christine Delea Mary Dyczewski Mary Jo Cook Marya Granger-O'Neil Mauri Connors Meagan Atiyeh Meghan McNeal Melissa Takush Mia Ferm Michael Davidson Michael de Forest and Susan McKinney Michael Jamond Michael Schaefer Michael Schurter Michele Limpens Michele Plorde Michelle McCown Mira Kaddoura Mizu Desierto MK Guth and Greg Landry Molly Alloy Molly Dilworth Mona McNeil Monica and Carlos Camin Monica Jo-Mueller Morgan Ritter Moss Drake Nan Curtis and Martin Houston Nan Stark Natalie Arreola Nathan Bowser Nathan Martel Nicholas Raethke Nick Gideonse Nicole Cromartie Nicole Jepeal Niki Baum Hutchinson Nina Bozicnik Pat and Kelley Harrington Pat Boas Patricia and Kamran Amirsoleymani Patricia Briggs Patricia O'Shea Patrick Williams Paul Pierce Paul Vigeant Pepper Pepper Perry Bryant Peter and Kimberly Gronquist Peter Burns Peter Hauser Peter Ksander Peter Simensky Philip Cole PNCA Rachael Winter Durant Rachel Lafo Rafael Almeria Raissa Fleming

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Ralph Pugay Randy Smith Randy Tucker Rebecca and Alexander Stewart Rebecca Burrell Rebecca Lingafelter Rebekah Gibbons Reed College Cooley Gallery Reed Guy Reid Branson Robert Bricker Rochelle Mollen Ronald Marsh Rory Sparks Rose Proctor Roya Amirsoleymani Ruby Apsler Ruchika Tulshyan Ryan Brown Sam Sumpter Sam Terry Sandra Hart Sara Butcher Sara Krajewski Sara Yada Sarah Bishop-Stone Sarah Mahler Sarah Marguier Sarah Miller Meigs and Andrew Meigs Sarah Pedersen Scott Soutter and Sharon Urry Sean Schumacher Sharita Towne Sharon Denman Shash Woods Shawna Lipton Sheryl Horwitz Shir Grisanti and Laurence Ly Shoshana Kedem Sonia Sabnis Spencer Byrne-Seres Stanlyn Brevé Stephanie Snyder Stephen Galloway Sumi Wu Susan Hoffman Susan Sterne and Peter Kellers Susannah Mars Suzanne Savell Sybil Kelley Tahni Holt and Toby Query Taka Yamamoto Tayler Kim Taylor Anderson Terence Rokop Terri and Robert Hopkins Terri Tiley The Ed Cauduro Fund of the Oregon Community Foundation Thomasin Parnes Tia Kramer Tiffany Wilson Tim Lu Tim Rhodes Tina Nguyen

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Todd Evanoff Todd Harris Tom and Carol Crosby Tom DeBlasis Troy Dockins Trude Parkinson Twink Hinds and Graeme Harrison Van Pham and Jeremy Dalton Vanessa Micale Victoria Frey and Peter Leitner Victoria Marshall Vivian Rappleyea Walsh Construction Wendy Hambidge Wesley Mueller Will Bruder and Louise Roman Yanira Castro

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CORPORATE SPONSORSHIP

5 PICA is the creative economy in action.

Become a corporate sponsor and declare your business to be a cultural leader. Your support will help PICA to fund artist residences and commissions, subsidize free programs, engage in a civic dialogue with the community, and continue to bring leading-edge contemporary art to Portland.

7 Benefits of sponsorship include:

connecting with PICA’s community of vibrant and art enthusiasts, who embrace innovation and exploration; unique and memorable experiences with contemporary art for your staff and clients; invitations to exclusive sponsor receptions; acknowledgment listings in printed materials, on donor walls, and on the PICA website; invitations to yearround visiting and resident artist events.

Special thanks to Jeanie Lai and Bora Architects & Interiors, Dave Holmstrom and Truebeck Construction, Aaron Burkhardt and KPFF, Killian Pacific, Dennis' 7 Dees Nursery, PLACE Studio, Green Gables, PARR Lumber, R&H Construction, EC Electric, Walsh Construction, and PDX Wine.

10 FUNDERS AND SPONSORS

11 Dr. Bronner's Family Foundation

WWH Foundation

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Portland Institute for Contemporary Art receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts. This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

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PORTLAND INSTITUTE FOR CONTEMPORARY ART Roya Amirsoleymani Artistic Director & Curator of Public Engagement

Chris Balo

Production Manager

Kim Crosby

Development Manager

Erin Boberg Doughton

Artistic Director & Curator of Performance

Victoria Frey

Production Crew

Rory Breshears Alan Cline Eben R Joondeph Hoffer Brianna "Bmo" Morales Aysha Nolan Additional production and project management staff will be listed on the website.

PICA BOARD OF DIRECTORS

Executive Director

Courtney Dailey

Kristan Kennedy

Lisa Jarrett

Artistic Director & Curator of Visual Art

Shaun Keylock Accounting & Finance Manager

Kevin Holden

Programs Assistant

Jeff Hu

Facilities Lead

Samantha Ollstein Interim Development Associate

Van Pham

Interim Deputy Director

Mami Takahashi

Programs Manager

Leslie Vigeant

Director of Marketing & Communications

Mallary Wilson Graphic Designer

TBA STAFF Robert Epps

Board Chair Vice Chair

Shir Grisanti Treasurer

André Middleton

Secretary Lucinda Carmichael Mariko Fukuyama Clark Andrew Dickson Allie Furlotti Peter Gronquist Britt Howard Mira Kaddoura Jeanie Lai

In Memoriam

Colin Fontes Ernie Hayes Carol Hepper Howard Shapiro Dan Winter

Special Thanks

Michael Gubitosa Kerr Ivan Cirilo Foad Mozaffari Carlee Smith Ed Bourgois Reuben Roqueñi Anthony Hudson Carla Baker/Stellar Communications Vo Vo Claudia Alick

Graphic Designer

Sara Jaffe Copyeditor

Jana Rumberger Marketing Support

Tyler White

Programs Fellow

Arminda Gandara

Creative Exchange Lab Coordinator

Hannon Welch

Creative Exchange Lab Coordinator

Madison Hames

Digital Content & Access Coordinator

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THE POWER OF SMALL GIFTS

When you sign up for recurring donations, you are investing in the future of PICA in an incremental way that is affordable to you.

When you give to PICA your funds are directly supporting our programs, artists, staff, residencies, exhibitions, commissions, our annual Time-Based Art Festival, and more!

INSTITUTE INSTITUTE INSTITUTE

STARTING AT $5 A MONTH INSTITUTE

Starting at just $5 a month, and increasing in $5 increments, give at a level that feels affordable and right for you. Make your ongoing contribution today at pica.org/support/donations. 2

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Follow the Festival!

Stay up to date on all things TBA:21 by following PICA on Instagram at @picapdx. Share your TBA:21 experience with 6 friends or relive performances and memorable moments through the Festival’s official hashtag, #tba21. Don’t forget to tag and follow the TBA:21 artists! 7

• Javaad Alipoor @javaadalipoor • Holland Andrews @holland.andrews

• Heldáy de la Cruz @siguele.cabron • vanessa german @vanessalgerman • Anthony Hudson/Carla Rossi with Arias Hoyle & Steven Paul Judd @thecarlarossi @air_jazz @stevenpauljudd

9 • Mia Imani @miaimaniharrison

• Garrick Imatani & Travis Stewart @garricki @mercier74

• Emily Johnson/Catalyst with Raven Chacon, Drew Michael, and Holly Mititquq Nordlum @emilyjohnsoncatalyst @ravenchcn @drewmuk @hollywouldif_shecould • Raja Feather Kelly @rajafeatherkelly

11 • Hannah Krafcik & Emily Jones @hannahkeliza @emulyjones • Jennie MaryTai Liu & Simon Liu with Andrew Gilbert

@jenniemarytail @cyi_liu @andrewgilbertindependentartist

12 • jumatatu m. poe & Jermone Donte Beacham @_move_you_ @jumatatupoe #JermoneDonteBeacham 13

• rise x fall (rubén garcía marrufo, jaleesa johnston, maximiliano) @thulsa_moon @ruben_garciamarrufo @jaleesa31 • Eileen Isagon Skyers @greedygraces Partner Projects include Knowledge of Wounds @knowledgeofwounds,

14 co-curated by S.J Norman @vitreous_lustre and Joseph M. Pierce

@pepepierce; No Face, No Case: Portraiture’s Breaking, curated by Stephanie Snyder @stephanie.snyder.curator, Cooley Gallery @cooleygallery, Reed College; and Good Mourning: Rituals For 15 Displacement (Mia Imani) and THE BLUE WALK (vanessa german) curated by Elisheba Johnson @elishebajohnson of Wa Na Wari @wanawariseattle (Seattle, WA)—plus, the Fall 2021 Creative Exchange Lab #CXL featuring Crystal Cortez @crystalquartez, mario lemafa @decisionfatigue, Sara Siestreem #SaraSiestreem, Maya Vivas @mayavivas, and Timothy White Eagle @timothy_ whiteeagle —and a second edition of THE WHO CARES CLOCK.

PORTLAND INSTITUTE FOR CONTEMPORARY ART

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Portland Institute for Contemporary Art 15 NE Hancock St. Portland, OR 97212 PICA.ORG/TBA Share your TBA:21 experience with friends or relive performances or memorable moments through the Festival’s official hashtag, #tba21.

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82 Cover: jumatatu m. poe and Eric Sanchez in Let ‘im Move You: Intervention, a project by jumatatu m. poe & Jermone Donte Beacham Photo: Gema Galiana

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