Solo work in progress created by Erika Mitsuhashi and Francesca Frewer
Dust takes as its points of departure the idea of performer as host. Created for a range of settings from proscenium stages to confined gallery spaces, the audience is welcomed in and made witness to the progressive undoing of the performance space and the performer herself. A backdrop of white paper, installed by the artist, alludes to a history beginning prior to the audience's arrival, and organic materials in progressive states of decay emphasize the passing of time.
Work in progress showing at PAUL Studios Berlin in September 2019.
Tender Engine is a work-in-progress collaboration which began on January 2, 2018, between Erika Mitsuhashi, Alexa Mardon, Brynn McNab, and Uxie the Recurrent Neural Network. Uxie is an algorithm trained on a dataset they have gathered in since the beginning of this year: language from their conversations, writing, rehearsals, and the place we are. The weather, the news, and our personal histories have taught Uxie how to speak, and we are learning how to listen.
Platforms for Tender Engine’s research and development:
TDT’s Emerging Voices, December 2017 (with TDT dancers: Roberto Soria and Devon Snell)
Shadbolt Centre for the Arts Artists in Residence, January 2018 (with dance artists: Zahra Shahab and Elissa Hanson)
Kinetic Dance Studios Halifax Open Studios Series, January 2018
Boca Del Lupo Artist in Residence, March 2018 (with dance artists: Zahra Shahab and Elissa Hanson)
The Saddest Girl at the Party
created and performed by: Francesca Frewer and Erika Mitsuhashi
The Saddest Girl at the Party is a dance-theatre duet created by contemporary dance artists Francesca Frewer and Erika Mitsuhashi. Conceived as an ode to the attempt and a lament for that which has been given up on, it uses movement crafted into games and absurd scenarios to compose a dynamic performance piece which lies somewhere between playful and heartbreaking, but falling (maybe, almost) just shy of each.
Excerpt presented at the Shooting Gallery Performance Series in April 2017 at the Dusty Flowershop Cabaret in Vancouver, BC.
Presented as part of New Work's Annual Season Launch, curated by established local dance artist Justine A. Chambers in September 2017 at the Orpheum Annex Theatre in Vancouver, BC.
Presented at Upintheair Theatre’s 2018 rEvolver Theatre Festival in May 2018 at The Cultch Greenhouse Theatre in Vancouver, BC.
concept: Erika Mitsuhashi and Alexa Mardon
performed by: Felicia Lau and Alexa Mardon
In this two-part score, the dancers first use their bodies as tools for appraisal, doing instantaneous physical research in order to re-tell the history of art objects back to the audience.
In part two, the dancers co-author a hierarchy of concepts and objects, attempting to attribute a movement equivalent to each thing according to its value in capitalism.
Performed in September 2016 at Surrey Art Gallery's inFlux, in response to Mimetic Workshop: Studio Still Lifes of Fiona Ackerman and Kelly Lycan curated by Jordan Strom.
created and performed by: Alexa Mardon and Erika Mitsuhashi
New Beginnings is a collaborative project between Erika Mitsuhashi and Alexa Mardon. Part sales pitch, part bad TedTalk and part personal archive, the piece is inspired by string theory, the infinite possibilities of the self in the multiverse, the repetitive performance of female affective labour, and the traces left in our bodies by the women who came before us. Using psuedo-science and hospitality as foolproof methods for time travel, we invite the audience to join us in sifting through the wreckage of the future and preparing for the detritus of the past.
A 15-minute excerpt presented in July 2016 at the Toronto Love-In's PS We Are All Here series.
this room has curved edges
created and performed by Erika Mitsuhashi
this room has curved edges is a solo work created and performed by Erika Mitsuhashi. Enmeshed in memories of rooms both real and imagined, this room has curved edges interlaces the secretive, changing, architecture of dreams with lived personal experience. Drawing aesthetic inspiration from cinematic master Wong Kar-wai, the shifting movement score draws the audience into the dreamscape and imagination of an individual. With the body as a conduit into the psychological realm, the piece experiments with dream-like sensibilities of time, logic and space.