November 2005-March 2006
From November 2005 through March 2006, the Exploratorium presents Situation Abnormal: Performances You’ll Never See on Broadway, a once-a-month series of offbeat live performances in the Exploratorium’s McBean Theater at 8pm. The series kicks off on Thursday, November 10, with Executive Order 9066. This series features artists who have reinvented their form, their materials, or their content to create new performance. Here, the
usual is not the norm. In past seasons, these artists re-contextualized the art of juggling, used the turn-table as an armature for entirely new instruments, created three personas out of one performer, and used the spoken word to create outrageous images of things that one will never see in real life. This season’s artists understand that performance is a fluid, dynamic form that can be used and manipulated to transport an audience to a new place. For reservations, call (415) 561-0308. Tickets to each event are included in the price of same-day admission to the Exploratorium ($13 for adults). Parental guidance is suggested.
The program is as follows:
Thursday, November 10, 2005
Executive Order 9066
Performed by The Lunatique Fantastique Ensemble
Directed by Christine Young and Liebe Wetzel
McBean Theater, 8pm
Using only pieces of weathered wood, old suitcases, boots, a tea set and other household items, this troupe of found-object puppeteers chronicles the moving story of a Japanese-American family’s forced internment during World War II. With their signature style of bringing to life everyday objects, the Ensemble recreates the experience of the American concentration camps, which Franklin Roosevelt established in Executive Order 9066.
Thursday, December 15, 2005
By Kristin Lucas
McBean Theater, 8pm
One of the most exciting of a new generation of young artists working at the intersection of video, installation, performance and Web-based art, Kristin Lucas uses her camera as a diary, through which she recounts anecdotal, performative mini-dramas. Her work resonates with a sense of social isolation and alienation from the computer/television/electronic media that serve as surrogates for real personal interaction. The backdrop to Lucas’s work is the empty world of daytime television, cable shopping channels and shopping malls. Lucas’ Dry Run is one element in a broader effort to unravel the complexity of our relationship with the electronic world.
Friday, January 13, January 2006
Success: The YD Way
By James Bewley and George Nachtrieb
McBean Theater, 8pm
This dynamic road show is an entertaining and thought-provoking analysis, and bizarre parody, of the principles of corporate and personal success. Artists James Bewley and George Nachtrieb bring together video clips, PowerPoint presentations, working groups, and inspirational speakers to both parody and explore our fascination with success seminars and their corporate marketing in this wry and lively event.
Friday, February 3, 2006
The OverArching Experiment
By Bay Area Artists and Art Organizations
In this event, local visual artists, filmmakers, and performers help the Exploratorium animate a new art installation that arches over the museum’s exhibit floor. This effort is an experiment in enlivening the dramatic overhead space of the Palace of Fine Arts by Bay Area artists and arts organizations using both the loft and floor spaces as a canvas for new site-specific work.
Thursday, March 2, 2006
Speaker Swinging and Piano Mechanics
By Gordon Monahan with additional swinging by Laura Kikauka, Amy Loewen and Elizabeth Yarbrough
Skylight Area, 8pm
These combined events break new sonic ground by experimenting with radically different ways of creating, altering, and projecting sound. Speaker Swinging combines multiple moving speakers and audio effects to add dynamic new dimensions to listeners’ aural worlds. It grew out of a desire to animate the typical electronic music concert and in effect, to realize the loudspeaker as a valid electronic music instrument in itself. Piano Mechanics explores the acoustical properties of the piano—not as a standard concert instrument, but as a complex machine whose unexpected acoustics can be mined through nonstandard techniques. The sounds that you hear will not be recognizable as coming from a piano.