Posted on February 05, 2016

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Performance at SooVAC curated by Laurie Van Wieren-March 4 @ 8:00 pm - 9:00 pm *Some performances include mature themes*

A special performance curated by Laurie Van Wieren takes place in Amelia Biewald’s exhibition Autour de La Fin Du Monde, at Soo Visual Arts Center featuring Hijack, April Sellers, Parker Stuart, Deborah Jinza Thayer, and Laurie Van Wieren. SooVAC will be open from 2–9 pm this day.

HIJACK (Kristin Van Loon & Arwen Wilder)

HIJACK is the choreographic collaboration of Kristin Van Loon & Arwen Wilder. Van Loon & Wilder each grew up in Chicago, met at Colorado College, and established their collaboration in Minneapolis in 1993.
HIJACK is best known for “short-shorts”: pop song-length miniatures designed to deliver a sharp shock and collaborations with po-mo hero Scott Heron. HIJACK specializes in the inappropriate, toying with audiences’ expectations through their interpretation of venue. They perform each HIJACK dance in both social and theatrical spaces. Pieces bear the imprints of the places they’ve been. HIJACK has taught and performed in New York (at DTW, PS122, HERE ArtCenter, Catch/Movement Research Festival, La Mama, Dixon Place, Chocolate Factory, Brooklyn Studios for Dance), Japan, Russia, Central America, Ottawa, Chicago, Colorado, New Orleans, Philadelphia, Seattle, San Francisco, Iowa, at Bates Festival and FuseBox Festival. HIJACK teaches Composition/Improvisation at the University of Minnesota, Colorado College, and St. Olaf College as well as a weekly Contact Improvisation class at Zenon. HIJACK curates/hosts Future Interstates, a dance improvisation performance series at Cowles Center. In 2013, Walker Art Center celebrated the 20th anniversary of HIJACK by commissioning the full-evening work "redundant, ready, reading, radish, Red Eye". In 2014, Contact Quarterly published the chapbook "Passing For Dance — a HIJACK reader".

Judith Howard and Laurie Van Wieren
Title: Da- Dandy for Hannah H.

Laurie Van Wieren is an independent artist based in Minneapolis. Her work has been seen in many venues, including The Walker Art Center, The Southern Theater, Dancespace, Bryant lake Bowl Theater, The Fabrik, The Art of Movement Festival in Yaroslavl, Russia and Lake of the Isles. She is interested in the investigation of memory, disruption and humor. Her work is a conversation between caos and calculation. Van Wieren has spent a number of years curating live performance at the Southern Theater, The Ritz Theater, The Bryant Lake Bowl Cabaret Theater, Soo Visual Arts Center and Twin Cities public spaces.

Judith Howard asks what is movement? What just happened? In the event of loving is the space empty? I covet you! She has been free associating for 30 years in performance making and doing at the Walker Art Center, Southern Theater, 9 x 22, The Ritz, NY Improvisation festival, galleries, Russian theaters, garages and rooftops. Her money comes from joyful teaching at Carleton College. She invites you into her bosom. It costs you nothing!

Howard and Van Wieren have been getting in trouble since the 1990's.

April Sellers and Samantha Johns
TITLE: You didn’t show up for my Birthday.

A choreographer, dancer, curator, educator and provocateur, April Sellers’choreography both incites dialogue and entertains. Interested in expressions of the feminine, she is drawn to work that seeks to question feminism’s history and contributes to future definitions and evolutions of feminism. Past works have explored women’s sexual identity (Jousting, 2014, In Her Place, 2000), queerexplorations of feminism (BIG BABY, 2014, Double Drag, 2015), cultural and personal rituals of loss (Unveiling Grace, 2003), and vulnerability of the body (The V Project, 2007). In 2015 City Pages, Minneapolis named BIG BABY Best Dance Performance. Sellers has received the Minnesota State Arts Board Artist Initiative Grant (2015, 2002) and the 2011 McKnight Fellowship for Choreography. She has been granted residencies at the Djerassi Resident Artists Program in Santa Cruz, California, the Maggie Allessee National Center for Choreography in Florida, and the Milwaukee Thesis Residency at the University of Wisconsin, where she received her MFA in Dance. April was awarded a Sage Award, along with Judith Howard, in 2006, and has received commissions from the Red Eye Theater, the Southern Theater, and Intermedia Arts.

Samantha Johns is a Minneapolis based artist working in contemporary performance. She is also a poet. She builds ensemble-devised performances that are often radical in content and form, and frequently housed in non-theatrical spaces. She makes work based on her ability to understand what is needed in a given situation. With other humans, she builds work that is often in response to theatre, modernity and love. She holds a B.A. in Theatre Arts and Dance from the University of Minnesota. Her work has been seen locally at: The Walker Art Center, The Southern Theatre, The Jungle, 1419, Fresh Oysters, Open Eye, The University of Minnesota, and nationally at: The Center for Performance Research-CPR (New York, NY) , Panoply Performance Laboratory (Brooklyn, NY), Florida State University (Tallahassee, FL.), 621 Gallery (Tallahassee, FL.), Sperm to Worm (Pittsburgh, PA), Mickee Faust (Tallahassee, FL). She has toured shows nationally, and done residencies in North Carolina and Florida. She is the recipient of Red Eye Theatre’s Works-in-Progress program and the Jerome Emerging Artist program at Tofte Lake. She is currently trying to find a future for this thing we call theatre.

M. Parker Stuart
Title: Raising

M. Parker Stuart is an artist currently living and working in Minneapolis. Parker has a background in both traditional arts and tech. These skills are combined in a multi-faceted approach used to address and confront social topics such as gender, poverty, and violence. Heavily influenced by surrealist and post-structural thought, parker uses the tools and metaphors of western culture against itself in a search for a deeper reality. This piece was conceived as a challenge to internalized misogyny. A masculine act is performed in service of femininity. We expect to see femininity used as a way to support masculinity, to raise it up, as we are told that masculinity is superior. By reversing these roles, the audience is forced to confront their discomfort, a discomfort born from misogyny.

Deborah Jinza Thayer
Working title, “All Hail the Queen”
Performers: Non Edwards, Missa Kes, Sharon Picasso, Taylor Shevey

After spending the first six years in Japan and Southeast Asia, Deborah Jinza Thayer grew up in Brooklyn, New York. She graduated from Johns Hopkins University and received an MFA in Dance at George Mason University in Fairfax, Virginia. She has created over 60 original works and presents her work as Movement Architecture – a blend of dance and theater in structured environments.  She has been performing and choreographing for about two decades and has received some awards along the way. Some include being a two-time semi-finalist for France’s Rencontres choregraphiques internationales de Seine-Saint-Denis (Bagnolet); receiving a 2010 SAGE Award for Concept and Design; and support from the Minnesota State Arts Board, American Composers Form, and McKnight Artist Fellowship, among others. She currently teaches technique and composition at Zenon Dance Company and School in Minneapolis.

Image the site specific installation from Autour de La Fin Du Monde by Amelia Biewald.

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