SOMArts Curator & Gallery Director, Justin Hoover, has been invited to contribute to The Performance Studies International Conference at Stanford this June. The conference will feature unique performances, installations, and praxis sessions, and Justin’s contribution will be a redux of 100 Performances for The Hole, a mini-marathon of two-minute performance, back-to-back, as well as leading a think-tank on defining ephemerality in objecthood that will be conducted outside in the summer sun while playing chess with pieces made from ice.
In an age of speed dating, the elevator pitch, status updates and instantaneous communication, 100 Performances structures a dialog around the form and function of the performative gesture, the action or the score today.
Each performance is allotted four minutes, one to set up, two to perform, and one to strike. All performances are displayed with a digital counter ticking down the seconds. This project, executed in 2008, 2010 and 2011, and slated for January 4, 2014, 5:58pm–midnight at SOMArts, is conceived of and curated by Hoover as a spectrometer for ephemeral, time-based art and performance.
The redux of 100 Performances for PSi19 will feature 26 performances on the evening of Thursday, June 27th at 7:30pm in the bottom floor Atrium of Stanford Building 550. For more information about the conference, click here.
100 Performances, a mini-marathon of artistic moments, is back by popular demand. On January 4, 2014, 5:58pm–midnight, 100 Performances is part of the public programming of All Good Things, a group exhibition November 2013–January 2014 that looks at how Bay Area artists (and a select few key works from beyond the Bay) have pioneered time as form in contemporary art. Click here to find out how you can support this underground performance marathon.
Images top to bottom: Justin Hoover pictured, photo by Bryan Hewitt, Alien Moon Partnership, “I feel like dying”; Bryan & Vita Hewitt, “Ultimate Turbo Work-Out with Rhiannon” performed by Katie Paxton, Ryan McCann, & Zach, photo by Bryan Hewitt