Glenn Potter-Takata is a Japanese-American artist utilizing in butoh, improvisation, found materials, and consumer products to create performances around the body as a historical site in post-Internment America. “I’m really interested in the delineation between notions of emptiness and nothingness, emphasizing materiality or material quality, and the non-self,” the artist explains. A continuation of the in-process work he showed at DraftWork, Immaterial Supreme is a collaboration with dancer Kimiko Tanabe and musician Chris Ryan Williams that expounds on notions of the self, Buddhist concepts of emptiness, and the material. Using contact microphones and butoh, Potter-Takata juxtaposes synthetic materials with the natural or organic to create a sonic and visual landscape that pursues a dissolution of the permanent self.

A co-founder of the artist-run performance space PAGEANT, Jade Manns has performed in the work of choreographers and artists including Ayano Elson, Alexa West, and Jordan Demetrius Lloyd. Manns works with images to explore themes of nature, divinity, and spectacle. Her new dance, Kingdom, is a dense panorama of rapidly shifting images and sounds. “Drawing from a two-dimensional archive which ranges from the prehistoric Chauvet cave paintings of animals to present day advertising and viral content, the choreography moves through a concentrated assemblage of animalistic forms punctuated by violent ruptures of modern spectacle.” Together with collaborators Kalliope Piersol, Owen Prum, Noa Rui-Piin Weiss, Isa Spector, and Zo Williams (performance) and Derek Baron (sound), Manns conjures a vision of complicated entanglements of artificiality, power, and spirit within a 21st-century landscape.