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Tender Engine is a collaboration between choreographers, two dancers (Mardon + Mitsuhashi), programmer Brynn McNab and Uxie, the Recursive Neural Network - an algorithm that has learned to speak from various datasets within the parameters of the programmer’s making. Previous iterations of Tender Engine has taken place in performance-based spaces where it has focused primarily on physical and textual scores for the performers, and how the performer might guide an audience through a pointedly disjointed and dysfunctional reading of physical bodies as technological, political and individual.
A series of four performances are scheduled to take place at VIVO Media Arts Centre at 8pm June 25–28.
Ticket Price is $10.00
Tue, Jun 25, 2019 | 8pm—10pm
Wed, Jun 26, 2019 | 8pm—10pm
Thu, Jun 27, 2019 | 8pm—10pm
Fri, Jun 28, 2019 | 8pm—10pm
Buy tickets here
Facebook event here
VIVO is located in the homelands of the xʷməθkʷəy̓əm (Musqueam) Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaɬ (Tsleil-Waututh) peoples in a warehouse space at 2625 Kaslo Street south of East Broadway at the end of E 10th. Transit line 9 stops at Kaslo Street on Broadway. From the bus stop, the path is paved, curbless, and on a slight decline. The closest skytrain station is Renfrew Station, which is three blocks south-east of VIVO and has an elevator. From there, the path is paved, curbless, and on a slight incline. There is parking available at VIVO, including wheelchair access parking. There is a bike rack at the entrance. The front entrance leads indoors to a set of 7 stairs to the lobby.
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 or events to unlock the doors. Once unlocked, visitors can use automatic operators to open the doors.
There are two all-gender washrooms. One has a stall and is not wheelchair accessible. The other is a single room with a urinal and is wheelchair accessible: the door is 33 inches wide and inward swinging, without automation. The toilet has 11 inch clearance on the left side and a handrail.
To reach the bathrooms from the studio, exit through the double doors and proceed straight through the lobby and down the hall . Turn left, and the two bathrooms will be on your right side. The closest one has a stall and is not wheelchair accessible. The far bathroom is accessible.
Alexa Mardon and 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.
Entering from a visual arts background, Zahra Shahab began her practice in dance at the University of Calgary, receiving a Bachelor of Arts with distinction in 2014 along with a minor in Visual Studies. She relocated to Vancouver in 2015 to study with Modus Operandi Contemporary Dance Training Program and at Emily Carr University. She has presented choreography at the Alberta Dance Festival, University of Calgary Dance, Bloom (Mascall Dance), New Works Performance, Dance in Vancouver, Toronto Dance Theatre’s Emerging Voices, Shooting Gallery Performance, and The Dance Centre’s 12 minutes max. She has presented experimental films at the Calgary Underground Film Festival and the Festival of Recorded movement where she was recently commissioned to produce a short film for their 2019 season. With a childhood in Islam, a youth in Christianity, an early adulthood cracked open by feminism/queer theories and cradled by Sufi curiosity, Zahra investigates spirituality, identity, and death through her practice. She is interested in the continual fluid process of generating identity alongside the freedom to dismantle it the moment it begins to crystallize.
Paul Paroczai is a composer, sound designer, and generative media artist living and working on the unceded Coast Salish territories of the Squamish, Musqueam and Tsleil-Waututh Nations.
Elissa Hanson is a performing artist and collaborator who lives and works on the unceded territories of the Musqueam, Squamish and Tsleil-Waututh First Nations. She investigates somatic, theatrical and political gestures. Elissa has performed and collaborated with EDAM Dance, Fight With a Stick, Justine A.Chambers, MACHiNENOiSY, The Biting School, Kinesis Somatheatro, Out Innerspace Dance Theatre, Company 605, Deanna Peters, Josh Beamish and Mascall Dance. Elissa's independent work comprises several solo dances, installation, and video works, and expanding her teaching practice in TRE technique, specializing in facilitating tension and fascial release.
Brynn Catherine McNab is a writer and curator based in Vancouver, who has worked with event-based work, co-authorship, contemporary dance, and alternative forms of publishing. McNab is undertaking a Master’s degree in Philosophy, Art and Critical Thought at the European Graduate School. Her current research is concerned with the work of François Laruelle, and structures of recursion in areas of mathematics and philosophy. In 2016, along with colleague Meichen Waxer, she co-founded Arts Assembly, a social practice and research based artist-run organization. She currently co-organizes the Vancouver Institute of Social Research with Am Johal and Alex Muir, a graduate level, critical theory free school based at the Or Gallery. She has published essays, creative non-fiction, and poetry internationally, most recently by Artspeak (Vancouver, 2019) Canadian Theatre Review (Toronto, 2018), Moniker Press (Vancouver, 2017), The Dance Current (Vancouver, 2017), Swimmer’s Group (Toronto, 2016), Faculty Magazine (Amsterdam, 2016), and the West Vancouver Museum (Vancouver, 2017).
