Premiere of Tender Engine at VIVO Media Arts Centre - June 25-28
VIVO Media Arts Centre presents Tender Engine, a collaboration between choreographers Mardon + Mitsuhashi, programmer Brynn McNab, a recursive neural network named UXIE and performers Elissa Hanson and Zahra Shahab. Tender Engine plays the line between intimate storytelling and highly performative false expertise, examining our relationship to language, technology, and meaning making.
Performances will be hosted in a series of four events at 8pm on June 25, 26, 27, and 28, at 2625 Kaslo St. (5-minute walk from Renfrew Skytrain Station)
$10 available here. ** no one turned away for lack of funds.
VIVO Media Arts Centre is making ongoing efforts to improve the accessibility of 2625 Kaslo St.
A wheelchair ramp is located at the west side of the main entrance. The ramp has two runs: the first run is 20 feet long, and the second run is 26 feet. The ramp is 60 inches wide. The slope is 1:12. The ramp itself is concrete and has handrails on both sides. There is an outward swinging door (34 inch width) at the top of the ramp leading to a vestibule. A second outward swinging door (33 inch width) opens into the exhibition space. Buzzers and intercoms are located at both doors to notify staff during regular office hours to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
Door: 33 inch width inward swinging, without automation. Toilet: 11 inch clearance on left side. The washroom has a handrail.
Mardon + Mitsuhashi
Alexa Mardon + Erika Mitsuhashi have been working together since 2015. Our interdisciplinary work has taken forms of durational performance, public installation, set design, printed publications, and projection design. The use of repetitive action, text, and projection investigates themes of affective labour, inherited memory, and the body as a site for choreographies of political and technological structures.
Mardon + Mitsuhashi seeks to create work which performs the line between tenderness and discomfort to develop critiques around the complicity with the structures and living conditions that they are situated in.
As a method to unsettle traditional audience-performer encounters, we ask our public to consider their relationships to their own bodies, histories and futures.