Past
Access for TBA:24
Learn moreAn immersive evening of ethereal performance, film, and sound, with textures of reflection dipped in impressions of deconstruction and decay. A new project by Liz Harris (Grouper), featuring guests January Hunt and Dicky Bahto.
Learn moreA panel discussion with PICA’s Artistic Directors and other curators and arts administrators to consider how art institutions host, celebrate, and make people feel welcome in their spaces. Moderated by Spencer Byrne-Series, PICA's Exhibitions Director, and curator of TBA:FOOD.
Learn moreSacha Yanow’s solo performance is an intimate psychological portrait of the artist’s father, her internalized dad, and patriarchy in general. For one night only, “Dad” covers and lip-syncs to his favorite songs from the ‘50s and ‘60s, shares footage of his 1970s winning appearance on the To Tell the Truth game show, presents motivational speeches, and more. His button-down shirts become his costumes, his yellow notepad usually reserved for stock market details contains his set list, and his Agatha Christie novel collection and Wall Street Journal become his props.
Learn moreA weekend-long, build-it-ourselves outdoor modern art museum, artist Libby Werbel orchestrates an exhibition in the heart of the city, inviting an impressive roster of performers to engage with the space. PMOMA draws a direct link between Portland’s lack of a major contemporary art museum and the impressive output of our creative community. Do Portland’s quickly shifting economic demands endanger the cultural equity essential to maintaining the quality of any major city? Is it possible to have a museum without an established infrastructure to support it? What does a museum look like when fashioned through our ideal ethical processes?
Learn moreWEST COAST PREMIERE: Within the galleries of the Portland Art Museum, Morgan Thorson stages an ensemble dance cycle that uses time as both subject and practice to process killing, extinction, and loss. Exploring both the vast span of geological time and the brevity of a single human life, Still Life considers both the long-ago, as represented by the museum artifacts and dioramas, and the immediate reality of violence and natural disaster. The piece enacts the death of choreography by erasing elements of the performance; with each repetition of the cycle, something is lost—a dancer, a sequence, or sound. While the audience is welcome to come and go from the intimate space of the performance, the long-form choreography investigates dance as a living and dying thing, as well as a practice in comfort and survival.
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