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David Eckard on opening night of TBA:11. Photo: Tomas Valladares.

David Eckard on opening night of TBA:11. Photo: Tomas Valladares.

TBA:11 marked Cathy Edwards third and final year as Guest Artistic Director and a Festival full of dazzling ensemble projects and epic artistic undertakings. Shantala Shivalingappa commanded the room with her poised and classically-inspired dance; Rude Mechs took our breath away with their devised performance The Method Gun; Japan’s Offsite Dance Project interjected three unique choreographers in Portland’s industrial Southeast neighborhood; and Kyle Abraham fused modern and hip hop choreography in two deeply personal dance projects. To top it all off, we hosted a live, 24-hour monologue by Mike Daisey titled—what else!—All the Hours in the Day.

The visual art projects, under the banner of “Evidence of Bricks” explored the political potency of artistic practice. Artists pushed at the breaking points and tipping points of our institutions through projects including Claire Fontaine’s U.S.A. (burnt/unburnt), a map of the United States comprised of 100,000 matches; Jesse Sugarman’s Lido (the pride is back), a choreographed installation of three minivans ascending on dozens of electric air mattresses; and YOUNG-HAE CHANG HEAVY INDUSTRIES’ charged and pointed video text poem. On stage at THE WORKS, Vockah Redu brought the bounce, Shana Moulton & Nick Hallett performed their surreal one-act video opera Whispering Pines 10, and Big Terrific bust us up laughing with Jenny Slate, Gabe Liedeman, and Max Silvestri.